Personal recollections 



DBAMA 



Theatrical Reminiscences, 



EMBRACING 



Sketches of Prominent Actors and Actresses, their chief char- 
acteristics, original anecdotes of them, and 
incidents connected therewith. 



BY 

Henry Dickinson Stone, 






To wake the soul by gentle strokes of art, 
To raise the genius and to mend the heart. 



ALBANY, N. Y. : 

Charles van Benthuysen & Sons. 

1873 







DEDICATION 



Edwin Forrest " Old Guard, 1 



TO THE 



Members ^ Albany Histrionic Association 



AND THE 



Admirers of the Legitimate Drama 
generally. 



THIS WORK IS RESPECTFULLY DEDICATED. 



INTRODUCTORY. 



Vain is his Task who Strives to Please ye All. 



An apology for undertaking a work from some incompe- 
tency, is almost as common as a preface ; yet sncli an apology 
the writer feels himself bound to offer, for he considers him- 
self incompetent, for several reasons, with which he will not 
trouble the reader, to write well of the many shining 
dramatic lights that during the past half a century or more 
have graced the American stage. It might be asked, in the 
present flood of publications, why was a work of this kind 
attempted? and in answer to such a question we can truth- 
fully say that it was not in exact accord with the feelings of 
the writer, but at the earnest solicitations of many kind 
friends, that the gathering of these Eeminiscences was com- 
menced, and even then with much reluctance and diffidence 
did we enter upon the task. 

The preparation of the following pages has given us 
some pleasant employment for a number of leisure weeks. 
Whether they will prove as easy in the reading as they were 
in the writing, is another question, for aware that our state 
of health rendered all literary exertion impossible, we have 
not attempted to come within the limits of a pleasing purity 
of diction, but written these simple recollections in a " plain, 
unvarnished" manner, relying upon the indulgence of the 



reader not to criticise them too closely, but remember that 
with us the inditing of this volume was a pastime not an 
occupation. 

It has been our care to embrace as many historical 
sketches in this work as will be of general interest (in rela- 
tion to the drama and its exponents) as possible, in order 
that its value may be for more than a day. A personal and 
gratifying intimacy with many of our most sterling actors, 
many of whom, alas ! have " gone the way of all flesh," has 
enabled us to speak of their peculiarities and characteristics 
as perhaps few others can, and this knowledge, more than 
aught else, has given what especial interest there may be 
attached to these running chapters. 

These few words of explanation being given, we have only 
to leave these sketches to produce their own impression. If 
they serve to while away a dull hour, our task will have been 
accomplished; if they are received with public favor, we 
shall indeed be gratified. These records are true to our own 
impressions; and secure in this main particular, we haye no 
misgivings in offering them to readers whose curiosity and 
interest about the distinguished actors and actresses of their 
time, claim such satisfaction as any survivor like ourself 
may be able to give. 



EDWIN FORREST. 



A Question eor Genealogists to Solve. 



There are doubtless very many persons, even those accus- 
tomed to handle our Government paper currency, who have 
never taken particular notice of the engraving which embel- 
lishes the backs of the "Twenty Dollar Currency 
Notes," or made themselves acquainted with the subject 
represented in the engraving. This engraving is a fac- 
simile of the original painting, which graces the walls of 
the Capitol at Washington, and represents the baptism of 
Pocahontas, at Jamestown, Virginia, in 1613, ten years 
previous to the landing of the "Mayflower" at Plymouth 
Eock. The key to this picture, which we have examined, 
gives the names of all the persons present at the baptismal 
ceremony of Pocahontas, among them Mr. and Mrs. For- 
rest and child, who occupy a prominent place in the 
picture. This Mrs. Forrest, it appears, "was the first 
gentlewoman who arrived from England in the Colony of 
Virginia." 

Now, whether Edwin Forrest is a lineal descendant of 
this Forrest family is a question for genealogists to solve. 



OUR ENGRAVINGS. 



As regards the likenesses of Edwin Forrest and Mrs. 
Catharine Sinclair, which embellish these pages, little 
need be said on our own part in their praise, as they speak 
for themselves, as also does the artistic execution of the 
engravings by Mr. Hiram Ferguson, designer and photo- 
graph engraver, which may challenge the criticism of the 
most exacting connoisseur. 

The photograph of Mrs. Sinclair was taken soon after 
she obtained the divorce from Mr. Forrest. She is repre- 
sented as Lady Teazle in the " School for Scandal." The 
particular scene in which she is represented is the famous 
one where Lady Teazle is discovered by Charles Surface and 
Sir Peter, secreted behind the library screen of Joseph Sur- 
face. The likeness of Mrs. Sinclair is perfect and life-like, 
as will be readily admitted by those who have ever seen her, 
especially in the character of Lady Teazle. It will be found, 
on comparing the likeness of Mrs. Sinclair with that of 
Lady Washington, there is a remarkable resemblance. 

The photograph of Mr. Forrest was taken when the 
great actor was in the very prime of life, and at the zenith of 
his histrionic fame. The artist has represented him as stand- 
ing in his library, in a deeply contemplative mood, his hand 
gracefully resting upon the works of his favorite Shakspeare. 
Mr. Forrest's likeness is also exceedingly truthful in every 
particular. 

In speaking of the artist, Mr. Ferguson, w r e would here 
simply ask why Albanians need go to New York or Boston 
to procure their work done, when they have competent 
artists at home ? We believe, as did Edwin Forrest, that 
native or home talent, genius, labor, should be encouraged 
in preference to that of a foreign character. In the produc- 
tion of these engravings, Mr. Ferguson has done himself 
credit, and it is very doubtful whether his work could be sur- 
passed, if equaled, by any artist in the country. 



CONTENTS. 



Chapter I. 

TAGE. 

Old Actors, Old Actresses, Old Theatres, etc 1 

Chapter II. 
The Great Edmund Kean Riot 15 

Chapter III. 
Green Street Theatre, erected in 1811 20 

Chapter IV. 
The Pearl Street Theatre, erected in 1825 26 

Chapter V. 
William Duffy's First Appearance, etc 33 

Chapter VI. 
Pearl Street Theatre, with the different Managers 38 

Chapter VII. 

Old Pearl Street Theatre, William Rufus Blake, his 

vanity 43 

Chapter VIII. 

Tom. Fuller, The « Artful Dodger " 48 

Chapter IX. 

Grand Firemen's Ball, Charlotte Cushman the Belle. . . 53 



Till 

Chapter X. 

Rebuilding The Academy of Music, The Trimble Opera 

House GO 

Chapter XL 
Division Street Academy of Music 64 

Chapter XII. 
The Odeon Theatre— Anecdote of the Elder Booth 66 

Chapter XIII. 
The Gayety Theatre— Castle, The Popular Singer, etc., 67 

Chapter XIV. 
Edwin Forrest, The Eminent Tragedian 72 

Chapter XV. 

Edwin Forrest, His First Appearance at the Old Pearl 

Street Theatre , 78 

Chapter XVI. 

Edwin Forrest, His Generous Donation to the Young 

Men's Association 87 

Chapter XVII. 

Why Mr. Forrest remained so long on the Stage 94 

Chapter XVIII. 
Mrs. Catharine Sinclair , 97 

Chapter XIX. 
Junius Brutus Booth, His First Appearance 102 

Chapter XX. 
Gustavus V. Brooke, The Irish Tragedian 108 

Chapter XXI. 
The Celebrated Comedian, William Warren 113 



IX 

Chapter XXII. 

Page, 

Charlotte C ashman, The Great American Actress 117 

Chapter XXIII. 

Edward L. Davenport, His First Appearance on the 

Stage 121 

Chapter XXIV. 
James E. Murdock, the Great Actor and Elocutionist. . 124 

Chapter XXV. 
The Albany Histrionic Association. ...... 129 

Chapter XXVI. 
General Theatrical Reminiscences 141 

Chapter XXVII. 146 

Chapter XXVIII. 
John Biven's Theatre 153 

Chapter XXIX. 
Mons. Mallet — Hacket 164 

Chapter XXX. 
" Pinkster Day"— Old King Charley 170 

Chapter XXXI. 
Dummy Allen — Forrest's Costumer 177 

Chapter XXXII. 

Capt. Page's Circus 181 

Chapter XXXIII. 

Jim Bancker — John Gossin, the Clown 185 

Chapter XXXIV. 
" Nosey " Phillips 188 



X 

Page. 

Chapter XXXV. 192 

Chapter XXXVI. 

Nichols, Amphitheatre 194 

Chapter XXXVII. 

Paddy Burns, and His Bugle 196 

Chapter XXXVIII. 

John Augustus Stone, the American Dramatic Author, 199 

Chapter XXXIX. 

Master Payne, Dramatic Prodigy 202 

Chapter XL. 

Thomas Cooper, the Celehrated Actor 207 

Chapter XLI. 

George Frederick Cook, and John Kemble 210 

Chapter XLII. 

The Great Actor, George Frederick Cook 213 

Chapter XLIII. 

The Old Trowbridge Museum 222 

Chapter XLIV. 

The Albany Museum 228 

Chapter XLV. 

New Dramatic Department of Museum 232 

Chapter XLVI. 

Anecdotes of Albany Museum 236 

Chapter XLVII. 
Origin of Negro Minstrelsy 210 



XI 

Chapter XLVIII. 

Page. 
Lord Adancourt and the Celebrated Actress 242 

Chapter XLIX. 

Caroline Richings. , 247 

Chapter L. 

Mrs. Scott Siddons 249 

Chapter LI. 

William J. Florence 251 

Chapter LII. 
Albany Actors and Actresses 254 

Chapter LIIL 
Actors' Lives, their Labors, etc 256 

Chapter LIV. 
John Hnnbnry. Dwyer 260 

Chapter LV. 
A Pleasant Episode — Charlotte Cnshman 262 

Chapter LVI. 
How the Printer Collects his Bill 265 

Chapter LVII. 

Female Dramatic Performers 268 

Chapter LVIII. 
Amusing Anecdotes of Edwin Forrest 270 

Chapter LIX. 
Anecdotes 273 

Chapter LX. 
Charley W. Taylor — Why he became an Actor 277 



Xll 

Chapter LXI. 
Good Friday — Conway 281 

Chapter LXII. 
Encoring Actors 284 

Chapter LXIIL 
Remarkable Stage Effect 286 

Chapter LXIV. 
A Real Tragedy— Effect of Good Acting 289 

Chapter LXV. 
Theatrical Emeute \ . . 292 

Chapter LXVL 
A Convenient Dramatic Record 305 

Chapter LXVIL 

Amusements in New York 311. 

Chapter LXVIII. 
Historical Fire Record 313 



THE STAGE-THE DRAMA. 



Amusement with Instruction Blended." 



That amusement is necessary to man, the most su- 
perficial observation of his conduct and pursuits may con- 
vince us. The Creator never implanted in the hearts of 
all his intelligent creatures one common universal appe- 
tite without some corresponding necessity; and that He 
has given them an instinctive appetite for amusements as 
strong as any other which we labor to gratify, may be 
clearly perceived in the efforts of infancy, in the exertions 
of youth, in the pursuits of manhood, in the feeble en- 
deavors of old age, and in the pastimes which human 
creatures, even the uninstructed savage nations themselves, 
have invented for their relaxation and delight. This ap- 
petite evinces a necessity for its gratification as much as 
hunger, thirst, and weariness, intimate the necessity of 
bodily refreshing by eating, drinking, and sleeping ; and 
not to yield obedience to that necessity, would be to coun- 
teract the intentions of Providence, who would not have 
furnished us so bountifully as He has with faculties for 
the perception of pleasure, if He had not intended us to 
enjoy it. Had the Creator so willed it, the process neces- 
sary to the support of existence here below might have 
been carried on without the least enjoyment on our part ; 



4 The Stage — The Drama. 

In England, where the clouds of religious intolerance 
were first broken and dispersed by the reformation, the 
Stage has flourished, and exhibited a mass of excellence 
and a constellation of genius unparalleled in the annals of 
the world. There it has been encouraged and admired by 
men whose authority, as persons deeply versed iu christian 
theology and learned as it is given to human creatures to 
be, we do not scruple to prefer to that of the persons who 
raise their voices against the Stage. Milton, Pope, Addi- 
son, Johnson, Warburton, bishop of Gloucester, and many 
others have given their labors to the Stage. In many of 
his elegant periodical papers, Mr. Addison has left testimo- 
nies of his veneration for it, and of his personal respect for 
players ; nay, he wrote several pieces for the Stage, in com- 
edy as Avell as tragedy ; yet we believe it will not be doubted 
that he was an orthodox christian. The illustrious Pope, 
in a prologue which he wrote for one of Mr. Addison's 
Plays — the tragedy of Cato — speaks his opinion of the 
Stage in the following lines : 

" To wake the soul by tender strokes of art, 
To raise the genius and to mend the heart, 
To make mankind in conscious virtue bold, 
Live o'er each scene, and be what they behold ; 
For this the tragic muse first trod the stage, 
Commanding tears to stream through every age. 
Tyrants no more their savage nature kept, 
And foes to virtue wondered how they wept." 

Warburton, the friend of Pope, a divine of the highest 
rank, wrote notes to Shakspeare. And an infinite num- 
ber of the christian clergy of as orthodox piety as any 
that ever lived, have admired and loved plays and play- 
ers. If, in religion, Doctor Johnson had a fault, it certainly 
was excessive zeal; and assuredly his morality cannot be 
called in question. What his idea of the Stage was, may 
be inferred from his labors and from his private friend- 
ships. His preface to Shakspeare; his illustrations and 



Introduction. 5 

characters of the Bard's plays ; his tragedy of Irene, of 
which he diligently superintended the rehearsal and rep- 
resentation ; his friendship for Garrick, and his constant 
attendance on the theatre, loudly proclaim his opinion of 
the Stage. To him who would persist to think sinful that 
which the scrupulous Johnson constantly did, we can only 
say, in the words of one of Shakspeare's clowns — " God 
comfort thy capacity." 



THEATRICAL REMINISCENCES. 



CHAPTER I. 

Old Actors — Old Actresses — The Influence and Effects of 
Good Acting — Old Theatres of New York — The Great Ed- 
mund KEAN " EMEUTE " AT THE PARK THEATRE, &C. 

In looking over a copy of Appleton's, we found an arti- 
cle which greatly interested us, reviving, very vividly, 
memories of scenes and incidents of the past. In this 
article reminiscences of the old theatres of New York 
interested us not a little. Very accurate and life-like 
illustrations of those ancient landmarks are also given, 
the illustrations being so remarkably truthful that any 
one having seen the original, or entered their portals, will 
at once recognize their plain, unostentatious and familiar 
faces, or fronts. An illustration is also given of the cor- 
ner-stone of the first old Park Theatre, which stood oppo- 
site the City Hall Park, between Broadway and Beekman 
street, and was erected in 1795. By-the-by, at the second 
Park Theatre a scene occurred that will long be remember- 
ed by those who witnessed it, as one of the most thrilling 
theatrical emeutes that ever transpired in this country, 
with the exception, perhaps, of the celebrated "Astor 
Place" riot, when the English actor, Macready, was 
mobbed and driven from the stage : — In this terrible riot 
it will be recollected that many lives were lost by being 
shot down by the military. The scene was occasioned by 
the appearance at the Park Theatre of Edmund Kean ; he 



8 Theatrical Reminiscences. 

was pelted with all sorts of obscene missiles, and only 
allowed to play Richard III in dumb show, or pantomime. 
"We will endeavor to give the particulars, having been 
present during the riot, and an eye witness to the whole 
affair. 

The first theatre erected in New York, it would seem, 
was the John Street Theatre, in 1753, the population of 
the city at that time being only 10,000. The first play 
bill had the following announcement : 

"The historical tragedy of King Kichard III, wrote by "William 
Shakspeare, and altered by Colly Cibber, Esq. Pit. five shillings ; 
gallery, three shillings ; to begin precisely an half an hour after six 
o'clock, and no admittance behind the scenes ! " 

The role of Richard was enacted by an actor of the 
name of Kean, supposed to have been a relative of his 
illustrious successor, Edmund Kean. General Washing- 
ton, while a resident of New York, and while President, 
frequently visited this theatre. 

In speaking of the old "Chatham Garden Theatre," 
which was located on Chatham street, between Sweeney's 
present hotel and, if we mistake not, Pearl street, in the 
rear of the main building, and in the centre of a beautiful 
garden, the entrance from the street being through a spa- 
cious hallway, with the ticket and other offices on either 
side, we would say we are reminded of many of the names 
of the unequaled dramatic company attached. The thea- 
tre was under the management of a Frenchman by the 
name of Barrier, and was managed in the most admirable 
and acceptable manner. The names of some of the com- 
pany, as near as we can recollect, were as follows: Henry 
Wallack, brother of James Wallack, and his accomplished 
and talented wife ; Mr. Durang, Mr. Scott, who went by 
the soubriquet of " Long Tom Coffin," owing to his im- 
mense size, as well as so often playing " Long Tom " in a 
nautical play ; Mr. and Mrs. Harry Williams, accomplished 
artists. Mrs. Williams was a remarkable woman, often 



Theatrical Reminiscences. 9 

assuming male characters, and especially that of " Eichard 
III," which she enacted in such a manner that she received 
the most flattering encomiums of popular critics. Henry 
and David Ebberlee, their two talented sisters, were dan- 
seuses and vocalists; Mr. and Mrs. Walstein, who were 
once attached to old John Biven's Theatre, corner of Green 
and Division streets, of this city, also Mrs. Hatch, an ex- 
cellent actress, who was at Biven's theatre ; Alexander 
Simpson, for short called "Alic." Simpson, was an Albany 
boy, and served his time as a printer in the old Albany 
Daily Advertiser office, and commenced his theatrical 
career in the old " Thespian Theatre," located on North 
Pearl street, opposite the Clinton Park, the ground of 
which was occupied by dwellings at that time. Many old 
theatre-goers will remember the names of the above men- 
tioned actors and actresses. 

The record of the old play-houses has a very sad value 
in recalling interesting phases of the social life of New 
York, and also brings before the mind of the reader the 
great changes that have taken place, especially in dramatic 
representations. For twenty-five years after the first play 
was performed in New York, the " legitimate drama " was 
in the ascendancy. The actors, not their artificial sur- 
roundings, were the centres of interest. Scenery and 
machinery, spectacles and gaudy effects, were almost un- 
known. Old actors and audiences shed tears over the 
perfection of imitated nature. Hyatt, a veteran actor, 
was so overcome by the performance of Helen McGregor, 
by Mrs. J. Duff, that he cried from emotion like a child. 
[This George Hyatt, alluded to, was the first low come- 
dian of Charles Gilford's un equaled dramatic company, 
of the old Pearl Street Theatre in this city, and of 
the very first of his class ; he also possessed high literary 
attainments. George composed several popular pieces of 
music, among them the once popular song of the " Mel- 
low Horn," sung with great effect by. the celebrated vocal- 



10 Theatrical Reminiscences. 

ist, Phillips.] We saw the stock actors lose their presence 
of mind in Sir Giles Overreach, in " New Way to Pay Old 
Debts/' and actually start to follow the prostrate form of 
the elder Booth, as he was borne, in the last scene, faint- 
ing and dying, from the stage, while the audience arose, 
and, pale with terror, leaned forward with painful interest 
to see the end of what, for the moment, appeared a real 
catastrophe ! 

Clara Fisher, on one occasion, sang what was intended 
to be a ludicrous appeal for sympathy, with such wonder- 
ful truthfulness of suffering, that a majority of the audi- 
ence were overcome with tears. [It will be recollected by 
many, no doubt, that Clara Fisher, in her young and 
palmy days, introduced for the first time in this city, at 
the Pearl Street Theatre, then under the management of 
Duffy & Forrest, the popular and affecting ballad of 
" Home, Sweet Home," when performing the role of Clara, 
in the " Maid of Milan." At last advices, December 15, 
1872, Clara Fisher Maeder was doing the role of " Old 
Woman " at Aikin Theatre, Chicago, and yet in a remark- 
able state of preservation.] Such incidents are character- 
istic examples of the "old school" of acting, and the 
most enthusiastic admirer of "modern inventions" must 
admit that the old theatres of New York, at least, sur- 
passed their successors in holding the "mirror up to 
nature," and that at this time, with but few honored ex- 
ceptions, the era of great actors and actresses has passed 
away with the temples in which they achieved their tri- 
umphs. Mrs. John Greene, attached to Duffy & Forrest's 
Pearl Street company — a great favorite, a lady of the high- 
est dramatic attainments, and a model woman in public 
as well as private life — in her portrayal of Mrs. Haller, in 
the "Stranger," Bianca, in the " Italian Wife," "Evadne," 
&c, &c, very seldom failed to work upon the sympathies 
of her audience, by throwing such intensity of feeling and 



Theatric al Reminiscences. 11 

earnestness in the characters as to have the entire audience 
in tears, and not unfrequently in audible sobs. 

Mr. William Duffy, (Duffy & Forrest,) while doing the 
role of Phasarius in Forrest's Gladiator, portrayed the 
crucifixion of the gladiators with such truthfulness, nay, 
electric effect, that portions of the audience would posi- 
tively turn their faces from the actor during his recital 
with utter horror and disgust ! Even Forrest, at times 
of its recital, would evince an unusual degree of emotion, 
It will be recollected by those who have witnessed the play 
of the Gladiator, that portions of Spartacus' (Forrest) 
army were taken prisoners, and "no quarters " shown 
them by their foes. Along the highways rude crosses 
were erected, and upon each cross was nailed by the hands 
and feet a living gladiator — thousands being thus cruci- 
fied. In the dreadful agonies of death, the poor wretches 
would struggle till they tore their hands from the iron 
spikes that confined them to the cross, and attempt to 
throw their bodies outward, madly grasping at vacancy, 
their bleeding and lacerated feet still being fastened to 
the cross ! It was this scene that Mr. Duffy described so 
fearfully truthful as to produce the effect upon the audi- 
ence above referred to.' Mr. Forrest paid Mr. Duffy the 
high compliment of saying in our presence, "Duffy is the 
best Phasarius that ever played with me." 

At the representation of " Mary Stuart," in Philadel- 
phia, when Lord Linsley seized Mary by the wrist, and 
left the impress of his gauntlet on her flesh, Mr. Wil- 
liam Forrest, (brother of Edwin,) as Douglas, stepped be- 
tween and says, " Shame ! shame ! " — an honest, good- 
hearted fellow, sitting in the pit, near the stage, his 
feelings becoming gradually excited, jumped up and cried 
out in very audible tones, " So it is a d — d shame ! Knock 
the fellow down, Forrest," which incident not being in 
the programme, brought down the house. 

There appears in these latter days so much of the il-%- 



12 Theatrical Reminiscences. 

itimate drama, so much of the flashy, trashy, sensational 
afloat and tolerated, that the true, solid, intellectual old 
tragedies, comedies, and sterling melodramas are wholly 
ignored, and made to " take a back seat/' As Hamlet 
says, and to the point, too — 

" 'Tis true, 'tis true, 'tis pity, 
And pity 'tis, 'tis true." 

The old John Street Theatre was erected in the year 
1753. Very accurate plate illustrations were given in 
Appleton's of the two Bowery Theatres, the La Fayette 
Theatre, which stood in Laurens street, near Canal, and 
the old National Theatre, corner of Leonard and Church 
streets. The National, in those days, was deemed one of 
the most beautiful and commodious establishments of the 
kind in New York, and was under the management of 
the veteran actor, James Wallack, Esq., father of J. W. 
Wallack, present manager of Wallack's popular theatre in 
New York. 

It is a somewhat remarkable fact that all of these thea- 
tres were destroyed by fire. No city in the Union has 
suffered so much by the destruction of theatres by fire 
as New York. The theatres thus destroyed by fire are 
as follows : Park Theatre, July 4, 1821 ; Bowery Thea- 
tre, May 28, 1821; La Fayette Theatre, 1829; Bowery 
Theatre, Feb. 18, 1838 ; National Theatre, Sept. 23, 1839 ; 
National Theatre, May 29, 1845 ; Bowery Theatre, April 
28, 1845 ; Niblo's, Sept. 18, 1846 ; Park Theatre, Dec. 16, 
1848 ; Barnum's Museum, July 13, 1855 ; Butler's Ameri- 
can Theatre, Feb. 15, 1866 ; Academy of Music, May 22, 
1866; New Bowery Theatre, Dec. 18, 1866; Winter Garden 
Theatre, March 23, 1867 ; Barnum's Museum, March 3, 
1868; Butler's American Theatre, April 8, 1868; Theatre 
Comique, Dec. 4, 1868; Niblo's Garden Theatre, May 6, 
1872; Lina Edward's Theatre, Nov. 28, 1872; Barnum's 
Circus, Dec. 24, 1872; Fifth Avenue Theatre, Jan. 1, 1873. 



Theatrical Reminiscences. 13 

Some of the above have been burned as follows : 
Park Theatre, twice; Bowery, three times; National, 
three ; Niblo's, twice ; Butler's American, twice ; Barnum's 
Museum, twice; Barnum's Circus and Menagerie, once. 

Speaking of the old Bowery Theatre reminds us that it 
was here that Edwin Forrest, after leaving the old Pearl 
Street Theatre in this city, (he then being a member of 
Gilfort's stock company,) commenced his career as a 
" star." The second Park Theatre, which in its day was 
considered the theatre of New York, was the favorite 
resort of the wealth, aristocracy and fashion of the city, 
and one of the best stocked, best appointed, and admira- 
bly managed theatres in the world. It was conceded that 
its stock company was never before equaled. Many old 
theatre-goers will no doubt remember a portion of its 
names, which we give from memoiy, and are as follows : 
Peter Richings, (foster father of the universally admired 
and accomplished actress and vocalist, Caroline Richings,) 
then in his prime, and a finished, genteel comedian and 
vocalist. Henry Placide, a very versatile and brilliant 
actor. [When Edwin Forrest was in Europe on a visit, 
he was asked whom he deemed the best American actor ; 
he promptly and unequivocally replied, "Henry Placide is 
unquestionably the best general actor on the American 
boards, and I doubt whether his equal can be found in 
England."] Thomas Placide, brother of Henry, Mr. 
Fisher, Mr. Hilson, the original representative of " Paul 
Pry " in this country, and inimitable in that role ; Mr. 
Wood, Mr. Isherwood, Mr. Wheatley, Mr. Johnson, John 
Barnes, usually called "old Jack Barnes," Obe. Wood- 
hull. [Here we would remark, that Woodhull was the 
"heavy man," doing, of course, all the villains, and so 
naturally did he not only look but act the villain, that 
many of the old Park patrons positively hated the man. 
The " gallery boys," (always an important theatrical ap- 
pendage,) when they happened to meet Woodhull on the 



14 Theatrical Reminiscences. 

street, would cry out, "There's that 'ere chap what played 
such and such a villian, and we're all d-o-w-n on him any 
how." A more flattering compliment could not very well 
have been bestowed upon an actor, but Obe.'s excellent 
acting always affected him financially, as he never suc- 
ceeded in getting a decent " benefit," until Forrest kindly 
volunteered to play for him, and the benefit was a "rouser ;" 
but it was Forrest who drew the house.] Chippendale, and 
many others, among them Harry Hunt, well known to 
Albanians as a member of Meech's unsurpassed company 
at the old Museum. Mrs. John Drew, the enterprising 
manageress of the Arch Street Theatre, Philadelphia, was a 
protege of Harry Hunt, and by him brought out at the old 
Park as a " prodigy," under the name of " Louisa Lane ;" 
when grown up, she became Mrs. Hunt. In some 
future reminiscences we may refer more fully to this 
talented and estimable lady, and versatile and unequaled 
dramatic artist, who played all roles from Lady Macbeth 
down to such juvenile characters as the " Eaton Boy," 
Fortunio, &c, and it would seem that this lady, at the 
present day, even, still retains much of the sparkling gen- 
ious and vivacity of former days. Mr. Clarke, an admira- 
ble actor, was one of the company of the old Park Theatre. 
Among the actresses were Mrs. Barnes, wife of Jack 
Barnes, a very accomplished comedienne and tragedienne, 
who afterwards became a star of the first magnitude, play- 
ing in the principal cities with eminent success. Then 
there were Madames Hilson, Johnson, Clarke, the two 
Misses Wheatley, &c. One of the Misses Wheatley — 
Emma, the name was — and a highly accomplished and 
beautiful young lady, retired from the Park stage, after a 
brilliant dramatic career, and became the wife of one of 
the distinguished " merchant princes " of New York. 



CHAPTER II. 

Tee Great Edmund Kean Kiot at the Old Park Theatre, New 
York — He is Hissed and Pelted with Missiles — Richard 
Played in Dumb Show, &c. 

We close the sketches of the old theatres of New York 
with an account, as nearly as our memory serves us — 
having been present — of the great emeute theatricale, on 
the occasion of Kean's appearance at the Old Park The- 
atre as Richard III : 

It would seem that while on shipboard, en route to 
this country from England, Kean, in one of those "fits 
of inebriety" to which he was subject, made certain 
remarks in relation to our institutions which were con- 
sidered to be positively offensive, and grossly insulting, to 
every American citizen. The report of Kean's conduct 
spread like wild-fire immediately after his arrival, and a 
firm determination was at once formed by a large portion 
of the public to resent the insult, as summarily as circum- 
stances would permit ; and this determination was fully 
carried into effect, on the appearance of Kean at the 
Park Theatre. 

Richard III, his great and favorite role, was announced 
for the opening night, and long before the time for open- 
ing the doors, nay, as early as 4 o'clock in the afternoon, 
crowds commenced assembling, and before 7 o'clock the 
entire area in front of the theatre was solidly packed 



16 Theatrical Reminiscences. 

with a surging, excited mass of humanity, extending far 
into the City Hall Park ! " Old Hays," the veteran and 
redoubtable detective, and a "terror to all evil doers" 
was on hand with a strong police force to aid in prevent- 
ing any acts of violence. 

When the doors were finally thrown open, the rush was 
positively fearful, and those having secured seats at an 
early hour, were obliged to "run the gauntlet," at the 
hazard of getting bruised limbs, shockingly bad smashed 
beavers, buttonless and badly rent coats, &c. After the 
house was filled to its utmost capacity, the ticket sellers 
left their posts, and free access was allowed to all who 
chose to squeeze in. 

As the curtain " rang up," the scene presented in front 
beggars all description. Such a perfect ocean of heads — 
such excitement — such a roar of voices, was probably 
never before Avitnessed on an occasion of the kind. Of 
course, there was not a solitary female present in the audi- 
torium. At length Kean entered from the right wing, 
looking quite pale, but exhibiting much firmness and con- 
fidence, and was at once greeted with a perfect storm of 
hisses, cat-calls, and terrific yells ! but the storm subsi- 
ded for a moment, and Kean commenced the soliloquy, 
" Now is the winter of our discontent (slight applause and 
hisses) made glorious by this son of York, (yells) and all 
the clouds that lowered over our heads" — here the storm 
that had been so long brewing burst forth in all its inten- 
sity and fury, and cries of " Hussle him off," " Down with 
the English ingrate," " He can't gull us," &c. Kean's lips 
were seen to move, accompanied by nervous gesticulations, 
but not a word he uttered was heard. Then came a missile 
of some sort, an orange or egg f perhaps, with the accom- 
paniment of " there, d — m you, take that." One of these 
missiles struck Kean on the side of his head, when he turned 
his face in the direction whence it came, and gave one of his 
terribly defiant looks, which once beheld, would not soon 



Theatrical Reminiscences. 17 

be forgotten ! Kean, of course, had many friends pres- 
ent — mostly Englishmen — who made spasmodic attempts 
at applause, but how perfectly impotent were their efforts 
against the demoniac demonstrations of his opponents! 
Confusion appeared to be getting worse confounded, — 
pandemonium, with all its evil spirits let loose, would 
have been as nought in comparison. 

The play went on, but in pantomime or dumb show, 
especially when Kean was on the stage — the rest of 
the play was but little disturbed, the rioters taking but 
little interest in it, as it was Hamlet to them with Hamlet 
left out. In the scene where Richard stops the corpse of 
King Henry, and in the wooing scene of Queen Anne, a 
huge missile, too obscene to be mentioned in print, was 
hurled upon the stage, falling directly at the feet of Queen 
Anne (Mrs. Hilson). At this juncture of the affair the 
husband of Mrs. Hilson sprang from a side wing and 
bore his wife off the stage in a lit of unconsciousness. The 
play proceeded to its close 'mid shouts, cat-calls, &c, in- 
terspersed with a shower of all kinds of missiles. As many 
may be desirous of knowing the meaning of the offensive 
missiles being thrown upon the stage, we would say that 
it was intended as a reminder to Kean of a certain liaison, 
or affaire d 'amour, with the wife of an Alderman Cox, of 
London ! 

The combat scene between Richard and Richmond was 
positively terrific, so intensely did Kean's acting absorb 
the undivided attention of the rioters, and there was 
quite a calm in the storm for several minutes. [We 
never saw the equal of this combat scene, except, per- 
haps, that between the elder Booth and William Duffy, 
in Richard, at the old Pearl Street Theatre, in this city, 
when Booth, in one of his fearfully earnest fits, fought 
with a desperation that is utterly indescribable.] Kean, 
fighting with the desperation and earnestness of an en- 
raged tiger, resembled a maniac more than a sane man ; the 
2 



18 Theatrical Reminiscences. 

entire contour of his face presented a most repulsive as- 
pect, and it was with Herculean efforts that Richmond 
prevented Kean from inflicting serious, if not fatal inju- 
ries upon his person. Kean's dying scene was fearful to 
behold, and we venture to say was not soon forgotten by 
those present. 

The curtain then dropped upon one of the most remark- 
able dramatic scenes, both on the stage, as well as in the 
auditorium, that probably has ever occurred in the history 
of the stage. 

Kean did not again appear at the Park for some time 
after this affair. His next appearance was in Boston, when 
he met with full as warm, if not a warmer, reception, as 
at the Park — threats were made to even lynch him, in Bos- 
ton — and he getting wind of this, made a hasty "exit" 
through the private entrance to the street, in the disguise 
of a female, a la Jeff Davis, but he was more fortunate 
than Jeff, as Kean escaped, while Jeff, was caught and 
"bottled up!" 

Kean, after his hasty exit from Boston, appeared at the 
old Pearl Street Theatre, in this city, Dec. 12, 1825, in the 
character of Richard III, and, contrary to the general 
expectation, he was received without the least riot or 
disturbance whatever. He played the first night to the 
fullest house ever witnessed in this theatre, many ladies 
were present, and nothing occurred to attract the atten- 
tion of the audience "from the masterly acting of the 
"mimic monarch." The " opposition," if any existed, was 
overawed, by the evident respectability of the house, from 
commencing any affray. After the tragedy was concluded, 
Kean was loudly called for by the audience, who,- on his 
appearance, greeted him with a burst of applause which 
shook the edifice. He briefly addressed the audience, and 
expressed his gratitude for the kindness and partiality 
evinced towards him in the manner of his reception "in 
this ancient metropolis," and retired amid the most enthu- 



Theatrical Reminiscences. 19 

siastic tokens of the popularity which his late persecution 
had secured to him. 

Kean returned to New York, meeting with a very cor- 
dial reception ; also in Philadelphia, Boston, etc. Alba- 
nians seemed to take the right view of the matter; they 
cared nothing about the piccadillos or short-comings of the 
man ; they desired to see the great actor, and to witness his 
unequaled impersonations of Shakspeare's grand creations. 

It is said that long before he appeared before the audi- 
ence, his countenance betrayed an ashey or death-like pale- 
ness, his every limb trembling like an aspen ; but he finally 
entered from the right wing, as usual, and was received 
with — instead of hisses and a storm of missiles — a perfect 
storm of applause, the entire audience rising to their feet 
and waiving their hats and handkerchiefs. So much was 
Kean taken back with this demonstration that it was sev- 
eral minutes before he was enabled to proceed, so great 
was the reaction ; but he went on, and it was said he never 
played with such force and positively electrical effect before. 
He played out a week's engagement here to splendid houses. 

It would seem that Albanians possessed more of the 
" milk of human kindness " than either the New Yorkers 
or Bostonians, they deeming him sufficiently punished for 
his indiscretions. After his engagement in Albany, he 
again returned to New York, and was well received. As 
Shakspeare says : 

" All the world's a stage, 
And all the men and women merely players. 
They have their entrances and their exits, 
And many men playing many parts." 

Kean passed through a terrible fiery ordeal, coming out 
a wiser if not a better man, no doubt. He played many 
parts, too, both on and off the stage, as we have shown in 
the above sketches. 

Thus ends our reminiscences of the old theatres, old 
actors and actresses of New York. 



CHxlPTER III. 

Green Street Theatre Erected in 1811 — Attempts made to 
Prevent Theatrical Performances — Common Council Re- 
fuses to Interfere — Looking-Glass Curtain — Theatre Fi- 
nally Converted into a Pork-Packing Establishment. 

The first knowledge we have of theatricals of any sort 
in Albany is that which Mrs. Grant communicates in her 
" American Lady," of their having been performed by the 
officers of the British army, in the time of the French war, 
about 1759. These gave such offence to the Dutch Re- 
formed clergyman, the Eev. Theodorus Frelinghuysen, 
that he made them the subject of severe censure in his 
pulpit; but instead of affecting any reform, a very singu- 
lar suggestion was made to him to depart. He found at 
his door on Monday morning a staff, a pair of shoes, a 
loaf of bread, and some money. This so wrought upon 
his feelings that he left his charge, crossed the ocean, and 
was never more heard of. 

The first theatricals in Albany were enacted by a com- 
pany of comedians from New York, who gained permis- 
sion, for one month only, from the Governor. They 
occupied the hospital, which stood about where the 
Lutheran Chm*ch now stands, on Pine street. The first 
play was "Venice Preserved,' , July 3, 1769. 

In 1785 the hospital was again fitted up for theatrical 
purposes, and opened on the 14th of December with 
" Cross Purposes," and " Catharine and Petruchio," be- 
tween which was a dance, a "La Polonaise," and an 
eulogy on Free Masonry. Tickets were sold at Lewis' tav- 



Theatrical Reminiscences. 21 

em, as no money would be taken at the door. Boxes $1, 
gallery 50 cents. A vigorous effort was made to prevent 
the couti nuance of the performances by a number of influ- 
ential citizens, but the common couucil determined by a 
vote of six to four, that they had no legal right to prohibit 
theatrical exhibitions. 

In 1803, a company calling themselves the " Old Amer- 
ican Company," gave an entertainment at the " Thespian 
Hotel," in North Pearl street. They opened on the 2d of 
August, aud continued their representations several weeks. 
This house a Mr. Hayman seems to have had possession 
of in 1810, and opened it on the 14th of November, with 
the comedy of " The Poor Gentleman," Mr. Bates speak- 
ing the prologue. 

The epilogue was spoken at the end of the comedy, and 
was followed by the farce of " The Lying Valet." This 
company concluded the season on the 28th of May, 1811. 
The edifice in which these performances took place, was 
first known as " Angus' Long Eoom," where the " City 
Assemblies," as they were called, were held — in other 
words, it was a dancing room. 

In 1801 the "United Presbyterian Church" held their 
meetings there. It seems to have been a convenient place 
for almost any public purpose. It was finally taken down 
about the year 1835. It is said that John Burnard, deci- 
dedly the best low comedian that ever appeared in Albany, 
had an excellent company at this place for one or two sea- 
sons before the Green Street Theatre was erected. Mr. 
and Mrs. Young, Horton, Anderson, Johnson and Gra- 
ham, belonged to that company, and Mrs. Young acquir- 
ed her great popularity in this city at that theatre, in the 
character of " Adelgitha." Hop. Robinson and Dwyer ap- 
peared here as stars ; and the " Forty Thieves " was first 
produced here, William Robinson personating Hasserack, 
the last of the Forty Thieves. Here were introduced as 
stars, many of the most celebrated actors of the day. 



22 



Theatrical Keminiscences. 



Holman and his daughter, afterwards Mrs. Gilbert, made 
their first appearance here. John Howard Payne, author 
of " Home, Sweet Home," and of several dramatic pieces, 
appeared on this stage. 

Theatrical performances were also given at a house fitted 
up at 140 State street, and in a wooden building on the 
southeast corner of Green and Division streets. Bliven 
carried on a theatre, which was known at one time as the 
" Pavilion," and was afterwards the site of a circus and 
menagerie, made memorable by the death of an elephant 
in it. 




Green Street Theatre. 



The first edifice erected for the purposes of a theatre, 
was begun in 1811, in Green street, near Hamilton, and it 
is still standing. It was of brick, 56 by 110 feet; Lewis 
Farnham builder, and was the enterprise of a joint stock 
company, consisting of John Van Ness Yates, Isaac Han- 



Theatrical Reminiscences. 23 

sen, George Sharp, Isaac Q. Leake, John I. Godfrey, and 
others. It was opened by John Burnard, aud an excellent 
company, 18th Jan. 1813, with " The "West Indian and 
Fortune's Frolic." The opening address was written by 
Solomon Southwick. In this company, the notabilities 
were Mr. Waring, Mr. Tyler, Mr. Southey, Mr. Dwyer, [Mr. 
Dwyer died in this city. His widow, aged 66 years, is still 
living with Mr. Yose, on Madison avenue, February, 
1873 ;] Mr. Young, Mr. Hopkins Eobinson, [Eobinson 
married the daughter of the late Judge Woodworth, 
who resided corner North Pearl street and Maiden lane, 
on Dr. Hun's estate ;] Mr. Placide, and William Robin- 
son — for short, called " Bill " — Mrs. Bernard, Mrs. Lewis, 
Mrs. Wheatley, and Mrs. Young. The prices were — boxes, 
one dollar ; pit, seventy-five cents ; gallery, fifty cents. 
Mr. Young died here, and his widow retired from the 
stage, afterwards marrying the Hon. Mr. Hughes, and 
was the mother of Charles Hughes, Esq., late clerk of 
court of appeals. She afterwards returned to the stage, 
under Burton, in New York. Many of the habitues 
of that theatre will remember her admirable rendition of 
the characters of " Mrs. Toodles," and " Lady Sowerby 
Creamly," in which she was unequaled. On the death of 
Mr. Burton she retired to a farm in Washington county, 
and at last date was still living. 

This theatre proved to be a good speculation during the 
war with Great Britain, after which there was a general 
depression of business and it remained some time unoccu- 
pied. In June, 1818, it was sold to the Baptist society, 
and was dedicated January 1, 1819. The Baptists occu- 
pied it until 1851, when it was sold to a new society called 
the "People's Church," which lasted but, a short time, 
and in 1852 passed into private hands. It was re-sold 
to a theatrical company for $6,000, and opened 5th July 
under the lesseeship of William S. Preston. On the 12th 
of August following, the performances were brought to a 



24 Theatrical Keminiscences. 

close by the sheriff taking out the scenery. On the 
20th December it was again opened, greatly improved and 
decorated by "Madame de Marguerites." This theatre 
had a glass or mirror curtain, which, instead of a " drop," 
was divided in the centre and run in "grooves" the same 
as the side " scenes." The curtain, which was very beau- 
tiful, cost fifteen hundred dollars or thereabouts, and 
was gotten up by Riley, who kept a looking-glass 
manufactory in the building in Green street, now occu- 
pied by our old friend Hiram Livingston. When the au- 
ditorium of the theatre was full, the effect produced by 
the reflection of this immense mirror was really gorgeous 
and novel in the extreme — the entire audience, especially 
in the parquette and dress-circle, were reflected in full, 
representing a double audience, and showing distinctly 
the minutest portion of the ladies' costumes ; so perfect in 
fact was the reflection that the disarrangement of a lady's 
hair could be detected, and if any " billing and cooing " 
were going on between fond lovers, they too would " see 
themselves reflected there." It is quite doubtful whether 
another curtain of the kind was ever seen in this coun- 
try, at least we are not aware of any. The writer saw 
two of these glass curtains in Paris, and another, if we 
mistake not, in a small theatre in Vienna. [By the way, 
poor Eiley came out minus in furnishing the curtain, 
and when the theatre "bursted up" had to take back his 
curtain, the glass being in good order. The author of this 
was also victimized by Madam de Marguerites to the 
tune of five hundred dollars for printing, to say nothing 
of newspaper advertising, &c] This theatre was soon 
re-opened by W. S. Preston, and on the 8th of Febru- 
ary, 1853, was sold by the sheriff for $6,975. It was again 
opened on the 28th of March, by Edmund S. Connor, hus- 
band of Charlotte Barnes, the daughter of the old come- 
dian, " Jack " Barnes— but it was in the end a losing con- 



Theatrical Reminiscences. 25 

cern. A great many attempts were afterwards made by 
Charles T. Smith, Davy Barnes, and others, to carry on 
the drama successfully at this place, but it finally sank to 
a very low grade and was closed in despair. In the 
fall of 1865 it was converted into a "pork packing" estab- 
lishment by Jennings, one of the most famous pork packers 
east of the great lakes. Immediately after, the rear wall 
fell down — a disastrous "finale" to its inglorious career. 

Attached to the early dramatic company of this theatre 
was Mrs. George Jones, in those days an actress of consider- 
able dramatic celebrity. She was a fine looking woman, 
though rather masculine in appearance, and pretty well 
known, especially in the west, by the sobriquet of the " Man 
Flogger " — deriving the title from the fact of her having 
cow-hided a larger number of actors and editors than any 
other strong-minded woman in the country. In order to 
have things "handy" she usually carried a good-sized 
raw-hide under her cloak. The mention of her name 
brings vividly to mind a little incident that occurred in a 
Cincinnati theatre. Mrs. Jones was playing a star engage- 
ment at this theatre at the time, and at the close of her 
engagement she went to the "captain's office to settle" — 
but the manager was, to use a modern term, being well up 
in the role of "Artful Dodger," had "vamoosed." An 
attache thinking it a good chance to perpetrate a joke at 
the expense of George Stone, low comedian of the theatre, 
pointed out George as the manager — the lady at once 
made a leap towards poor, unsuspecting George, who 
was standing near an open " trap ;" seeing the lady ap- 
proaching, and being well posted in her style, he made a 
sudden dive through the " trap," and a rapid exit out of 
the rear of the theatre. In the course of the day, Mrs. 
Jones met George and made a very humble and satisfactory 
apology. "All right," replied George, and went on his 
way rejoicing. 



CHAPTER IV. 

The Pearl Street Theatre— Names of First Stockholders — 
When and Where the Incipient Steps were Taken for 
Building it — What they had to Contend with, etc., etc. 

The next theatre erected exclusively for the representa- 
tion of the legitimate drama, was the edifice known from 
time immemorial as the " Pearl Street Theatre." It was 
erected by a joint stock company, composed of some of 
our most prominent and enterprising capitalists, in the 
year 1825, the ground upon which it was built having been 
donated by the late Isaac Dennison. The architect was 
Phillip Hooker, who drew the plan for the New York 
State Bank on State street, the Boy's Academy in the park, 
and other prominent public buildings in the city. In 
those days this theatre was admitted to be one of the very 
finest establishments of the kind in this country. It was 
116 feet deep, 60 feet wide, and 40 feet high. The audi- 
torium consisted of a pit of vast dimensions, extending 
under the boxes nearly to the front vestibule. The stage 
was 52 by 58 feet. There was also a spacious refreshment 
room, elaborately furnished, a ladies' boudoir, and a large 
" punch room," as it was called, extending the entire width 
of the building. [The following is a list of the original 
stockholders: Stephen Van Kensselaer, Tennis Van Vech- 
ten, Gerrit L. Lansing, Isaiah Town send, John Townsend, 
James Stevenson, Francis Bloodgood, Abel French, James 
McKown, James McNaughton. Dr. McNaughton must 
be the only surviving stockholder.] 

This theatre was opened to the public under the man- 
agement of Charles Gilfert, Esq., on the 18th of May, 



Theatkical Keminiscences. 



27 



1825, under the most nattering auspices, and with one of 
the most thoroughly efficient dramatic companies ever 
organized in the United States, or perhaps in Europe, 
there heing scarcely a member, male or female, but what 




Old Pearl Street Theatre. 
was far more worthy to rank as a " star/' than scores who 
now-a-days make large and ostentatious pretentions to the 
title. The names of the company were as follow : Charles 
Gilfert, manager and musical composer ; Charles Young, 
" the heavy man ;" Edwin Forrest, tragedian ; Anderson, 
tragedian ; Joe Horton, tragedian ; Lindsley, tragedian ; 
Morton, tragedian and general utility; George Barrett, 
light comedian ; Rufus W. Blake, comedian ; Barry, gen- 



28 



Theatrical Reminiscences. 



eral business; Faulkner, dialect and old man; John 
Augustus Stone, (author of " Forrest's play of Matamo- 
ra," and other plays, and a near relative of the author of 
this work,) eccentric old man ; George Hyatt, law come- 
dian ; Spiller, low comedian and vocalist ; Howard, vocal- 
ist; Johnson, general utility; Mrs. Grey, vocalist; Mrs. 
Gilfert, tragedienne; Mrs. John Augustus Stone, tragedy 
and comedy; Miss Tilden, comedienne; Miss Neville, 
walking lady; Miss Bobertson, chambermaid; Mrs. Bar- 
rett, old woman. 

The Pearl Street Theatre forms a complete history of 
itself. One event in its history, at least, will render it 
ever memorable, or while the name and fame of Edwin For- 
rest lasts. It was in this theatre, it will be remembered, his 
unsurpassed histrionic genius was developed, encouraged 
and nurtured by an Albany public, until it finally impelled 
him onward and upward to the very highest niche in the 
dramatic temple of fame and fortune. The innumerable 
and varied scenes, incidents, &c, that have transpired 
within the walls of this venerable edifice, from the time 
of its erection to the present, would, if written out, afford 
an exceedingly amusing as well as instructive volume. 

Having come across a copy of the bill for the first 
night's performance, we give it entire : 



ALBANY THEATRE. 
The inhabitants of Albany are respectfully informed that the New 
Theatre will be opened Wednesday evening, 18th of May, 1825. 
Performances four nights in the week. Prize Address, written by 
Thomas Wells, Esq., of Boston, will be spoken by George Barrett. 
After which the admirable Comedy of 

" Laugh When You Can." 



Gossamer Mr. Barrett. 

Bonus Mr. Fanlkner. 

Delville Mr. Lindslay. 

Mortimer Mr. Anderson. 

Sambo Mr. Spiller. 

Costly Mr. Rosser. 

Gregory Mr. Lamb. 



Tom Mr. Singleton 

Charles Mortimer -Master Arthur 
Mrs. Mortimer.. Mrs. J. A. Stone 

Emily Miss Robertson 

Miss 'Gloomy Mrs. Barrett 

Dorothy Mrs. Horton 



Theatrical Reminiscences. 29 

Evening's entertainment to conclude with the admired Farce of 
"Kaising the Wind." 



Jeremy Diddler Mr. Barrett. 

Plainway Mr. Faulkner. 

Plain wood Mr. Lindslay. 

Sam Mr. Hyatt. 



Eichard Mr. Lamb. 

Waiter Mr. Singleton, 

Miss Dorable Mrs. Barrett. 

Peggy Miss Robertson. 

Seats for the lower tier of boxes can be taken from 10 to 1, and 
from 3 to 5 o'clock. Box tickets, $1 ; Pit, 50 cents ; Gallery, 25 cts. 
Doors open at a quarter to 7 o'clock. 

A first class orchestra was attached to this theatre, and 
all its appointments were upon a most liberal scale. 

Soon after the opening, the eminent actor, Lucius Ju- 
nius Booth, made his debut in this city, being the first 
star that appeared at the Pearl Street Theatre, and was 
received with the greatest enthusiasm by a large and fash- 
ionable audience ; and during the season all the stars of 
the first magnitude appeared in rapid succession, viz: 
"Pat" Keene, the vocalist ; the charming young English co- 
median, Miss Kelly; Mrs. Barnes, Conway, Cooper, Hamb- 
lin, Edmund Kean, and other dramatic magnates. Kean 
made his debut at the Pearl Street Theatre Dec. 8, 1825, 
as Eichard III. He had previously been driven from the 
Boston stage and the theatre nearly destroyed by the mob. 
In Albany, however, Kean was greeted by an overflowing 
house, the crowd being so great that many retired through 
fear of suffocation, and large numbers who came from 
Troy and the surrounding villages, were unable to obtain 
admission. [For a full and graphic description of the 
great Kean riot at the Park Theatre, New York, see 
Chapter II, of this work, giving a history of old theatres, 
old actors, old actresses, &c, of New York.] 

We would here state for the information of old play- 
goers, that the project of building a theatre here was 
first broached at " Bement's Recess," No. 1, Green street, 
by a number of leading and wealthy citizens, who, after a 
brief discussion and interchange of views, decided to go 



30 Theatkical Reminiscences. 

on with the work with as little delay as possible. Four 
of the stockholders, viz., James Stevenson, Francis Blood- 
good, John Townsend, and Teunis Van Vechten, were 
each afterwards honored with the title of "Mayor" of our 
city — for it was an honor in those days to be mayor, or 
even alderman ! These were the men who inaugurated 
and carried out successfully an enterprise they firmly be- 
lieved would result in & positive benefit to our city; and 
that a well conducted theatre does produce such a result, 
there can be little doubt. The enterprise, however, met 
with spirited opposition from men of contracted views 
and fanatical notions ; but notwithstanding the opposition 
and the doubts and " predictions dire," of many " slow 
coaches " — for this class of persons were as numerous then 
as now-a-days, and who were ever ready to throw a wet 
blanket upon any improvement or enterprise that did not 
directly " put money in their purse " — we repeat, that, 
notwithstanding all these obstacles, these public spirited 
capitalists pushed the enterprise to completion. 

In speaking of " Bement's Kecess," our readers will par- 
don a slight digression which, we trust, may not prove the 
less acceptable, as the " Recess " was, in a large measure, 
identified with the old Pearl Street Theatre, or, at least, 
with its inception. This " Recess " then stood in the rear 
of the south end of the 1 Express building, corner of 
State and Green streets, there being a good sized court- 
yard fronting on Green street, the main entrance being 
from Green. This " Recess " was an extensive establish- 
ment having numerous and very spacious apartments, sit- 
ting rooms, parlors, lunch rooms, &c. It had an enviable 
celebrity, far and near, it being the "head centre" where 
" most did congregate " our principal business men — mer- 
chants, doctors, lawyers, editors, politicians, devotees of 
Epicurus, and lovers of good company, good cheer, and 
sumptuous living generally. 

Green street, in those days, was very narrow, being 



Theatrical Eeminiscences. 31 

scarcely wide enough for two teams to pass abreast. It 
was widened many years ago, as many of our older citizens 
are aware, from State to Hamilton street. Between State 
and Beaver, there were three hotels besides Bement's Ee- 
cess — two on the spot where now stands " Norton's Block" 
— one called the " Stone House," kept by James Colvin, 
father of Andrew J., the other, the " City Tavern," kept 
by Peter Germon, and the third on the corner of Green 
and Beaver, where Hood's jewelry store now stands, called 
the " Albany Coffee House," kept by Christopher Dunn, 
better known as " Kitty" Dunn, father of our worthy fel- 
low citizen, "Tommy" Dunn, and a counterpart of jolly 
" old Crit," of the " Old Eag^," which, with so many other 
fine hotels, fell a prey to the terrible and ever memorable 
fire of 1848. The Green street hotels, as well as the " Utica 
House, " Connecticut Coffee House," " Montgomery Hall," 
in old South Market street, were called " stage houses," as, 
in those days, stages were immense institutions, and Al- 
bany was the grand converging point for them. 

Eegular lines were run by Thorpe & Sprague, Eice & 
Baker, Young & Walbridge, John Swan, &c, from Albany 
to Boston and New York, in the winter season, Montreal, 
Buffalo, Cherry Valley, &c. ; and in the summer season, to 
Saratoga, Lake George, Niagara, Lebanon, Sharon, and 
other watering places. At almost all times of the day 
and night could be heard the rattling and rumbling of 
heavily laden stages over the rough pavements, accompa- 
nied by the sound of the coachman's horn, and the crack- 
ing of his huge whip, handled with a skill that none but 
those experienced " ribbon holders " could boast. Land- 
lords, porters, cartmen, hackmen, runners and " baggage- 
smashers," were all astir on the arrival of the stages. 
Even now one can fancy he hears, far above the din of 
the excited crowd, the shrill voices of those old stage and 
steamboat "institutions," Chauncey Dexter, George Bor- 
tle, Willard Adams, and Eichard or "Dick" Graves; for 



32 Theatrical Reminiscences. 

there was occasionally strong opposition in the stage busi- 
ness then, and consequently these old workers were brought 
" to the rescue." 

There were no railroads then; but times were really 
good, living cheap, rents low, taxes nominal, people con- 
tented with moderate incomes, no thoughts of gold, or the 
rise and fall thereof, no gambling in stocks, no whiskey 
and other government frauds and peculations; in fact, no 
boring for He ! 



CHAPTER V. 

SOUTH PEARL STREET THEATRE. 

"William Duffy's First Appearance Here, Playing Bertram— 
His Private and Professional Character — Extraordinary 
Memory — Business Capacities — He Assumes the Manage- 
ment of the Pearl Street Theatre in the year 1329 — 
Commences the Erection of a Theatre in Buffalo — Cere- 
mony of Laying the Corner-Stone — Bemarks of the Mayor, 
and Mr. Duffy's Besponse — B. "W. Blake Assumes the Man- 
agement. 

William Duffy made his debut in Albany at the South 
Pearl Street Theatre July 22, 1827, in the difficult role 
of Bertram, one of the favorite characters of the elder 
Booth. Mr. Duffy came from New Orleans, where he had 
been playing as a stock actor for some time. His second 
appearance here was in the tragedy of " Venice Preserved," 
he doing Jaffier to <• Obe." Woodhull's Piere. Mr. Duffy 
was a native of Albany, one "to the manor-born," but, as 
did Forrest, he left Albany when quite a young man, to 
seek his fortune in the South and Southwest. In the year 
1829, after playing occasionally at the South Pearl Street 
Theatre, at Providence, E. I., and in other theatres, he 
yielded to the urgent solicitations of many friends, and 
reluctantly assumed the management of the South Pearl 
Street Theatre. He, however, deemed the venture rather 
hazardous, involving large responsibilities, especially at 
that time, when theatricals were at a low ebb throughout 
the country. He was deemed on all hands to be one 
3 



34 Theatrical Reminiscences. 

of the best general actors in the country, and when 
Forrest played star engagements here, Mr. Duffy sec- 
onded him in all his principal pieces. In the role of 
Pharsarius, in the Gladiator, Mr. Duffy won golden opin- 
ions from all sorts of people, Forrest pronouncing him 
most unequivocally and decidedly the best Pharsarius that 
ever assumed the role. Mr. Duffy possessed a most re- 
markable memory. It was seldom that he more than 
glanced or ran over his part, notwithstanding which he 
was generally " letter perfect." In fact, we have known 
instances when his managerial duties required much 
of his time and attention, and he had a lengthy part 
to play, he would don his "harness theatrical" a short 
time before the curtain rose, run hurriedly over his part, 
and occasionally "winging it," to speak professionally, 
would go through with his part with as much ease and 
truthfulness as though he had given hours of study to it. 

Mr. Duffy was peculiarly and admirably adapted to the 
positions which he held — acting manager and actor. His 
powers of endurance were very marked — he having a 
splendid physique, besides being exceedingly active and 
energetic in all his multifarious duties. At one time Mr. 
Duffy, it may be recollected, was running the Pearl Street 
Theatre, and the Arch Street Theatre, Philadelphia, his 
time being divided between the two places. He had also 
in contemplation — in fact, under way — for some time be- 
fore his uv timely "taking off," a theatre at Buffalo; his 
intention being to establish a complete line of theatres 
from Albany to Buffalo, taking in, in course of time, 
Syracuse and Rochester. Under his indefatigable and 
judicious management, this would no doubt have proven 
a successful enterprise ; his extraordinary business capaci- 
ties affording ample assurance of such result. 

Speaking of the Buffalo enterprise, the ceremony of 
laying the corner-stone of the theatre occurred on the 
4th January, 1835, in presence of the mayor, common 



Theatrical Reminiscences. 35 

council, and a large collection of citizens. A silver plate, 
containing the following inscription, was deposited by the 
master builder beneath the corner-stone: 

Buffalo Theatre. 

Founded by William Duffy, January 3d, 1835. 

L. Howard, Master Builder. 

In presence of E. Johnson, Mayor, and Common Council. 

The mayor, on presenting this plate, made the following 
appropriate remarks : 

" We are called as witnesses to the laying of the corner- 
stone of another ornament of a public character to our 
city. Modern history, for more than 250 years, tells of 
the building of Temples to the Muses in all enterprising 
and growing cities ; and I believe, gentlemen, you will all 
freely accord with me, that few more years are to elapse 
before this public building will adorn the second city of 
this Empire State. 

" We welcome you, Mr. Duffy, and cordially wish you 
success in your enterprise." 

To which Mr. Duffy made a pertinent and appropriate 
reply, speaking of the rise and progress of the " City of 
the Lakes," the enterprise and liberality of its citizens, 
his visit to it in years past, and intention long cherished 
to erect an edifice of this character so soon as the growth 
and prosperity should reasonably warrant. That time, he 
was happy to say, had arrived, and by the advice of many 
of its most respectable citizens, and in the presence of 
many of them, the work had been commenced; and 
whatever might betide his experiment, he should never 
forget the open hospitality which had been extended to 
him, the frankness with which he had been met and wel- 
comed ; and that the present moment would be cherished 
as one of the happiest of his life. 

The elaborate and very efficient manner in which Mr. 
Duffy placed Forrest's new pieces on the stage, viz : Meta- 



36 Theatrical Keminiscences. 

mora, Gladiator, Broker of Bogata, and Orolooso, elicited 
very flattering encomiums from not only Mr. Forrest, but 
the press and the public generally. Mr. Daffy was a gen- 
tleman of refinement and taste, generous heart, highly 
respected, and an ornament to the profession which he so 
much loved. 

After running the theatre single-handed for some time 
with the most satisfactory results, Mr. Duffy connected 
himself with Mr. William Forrest, brother of Edwin For- 
rest, under the firm name of Duffy & Forrest, and under 
whose efficient management the Pearl Street Theatre was 
elevated to the highest standard of excellence and pros- 
perity. 

After Mr. Duffy's death, the theatre was closed for quite 
a time, and afterward opened, with a powerful dramatic 
company, by Blake & Dinneford. During their man- 
agement several gorgeous spectacular pieces were brought 
out, among them the Bride of Abydos, Norman Leslie, 
Cherry and Fair Star, the Jewess, and several other 
imposing spectacles which were run many consecutive 
nights to large and fashionable audiences. After the close 
of the season under the management of Blake & Dinne- 
ford, the theatre was re-opened under the sole management 
of Rufus W. Blake, with the following dramatic company: 
John R. Scott, R. W. Blake, Nickinson, Henkins, Mossop, 
Germon, Shinotti, Gibson, Smith, H. Anderson, G. Ander- 
son, Lansing, Madison, Leigh, Burnett, Mrs. George H. 
Barret, (nee Miss Henry, one of the most really beautiful 
actresses on the American boards) ; Mrs. Blake, sister of 
Harry Placide ; Miss Virginia Monier, a remarkably pre- 
possessing young lady, and fine actress; Miss Watts, Mrs. 
Anderson, Mrs. Wright, Mrs. Monier, (mother of Virginia 
Monier,) Miss Eliza Monier, Mrs. DeGrouch. The corps 
de ballet consisted of the Misses Farren, Ludlow, Broome, 
Brookes, Bruce, and Madam Truss as principal Terpsico- 
rian leader. 



Theatrical Reminiscences. 37 

The ballet dancers in those days did not dress so closely 
to imitate nature as at the present time; though when 
Madame Houton and other celebrated danseuses from 
Europe first appeared in this country, the style of their 
costumes was carried to such extremes as to disgust the 
female portions of the audiences; consequently an appeal 
was made to the managers, protesting in earnest terms 
against the very broad innovations made upon the good 
old plain style of Terpsicorian costume, and resulted in a 
decided reformation. 



CHAPTER VI. 

PEABL STREET THEATRE. 

Forrest Leaves the Old Pearl Street Theatre — Appears as 
Othello at the Park Theatre, Making a Successful De- 
but — Afterwards Appears at the Bowery, Playing Eighty 
Consecutive Nights to Crowded Houses — Mrs. Yernon — 
Sketch of her Private and Dramatic Character — Her 
Death and Burial — Different Managers of the Old Pearl 
Street Theatre, &c. 

Forrest remained at the South Pearl Street Theatre un- 
til Gilfert relinquished its management and assumed the 
management of the New Bowery Theatre, New York, the 
corner-stone of which was laid April 15, 1826. After ap- 
pearing as Othello, at the Park Theatre, for Obe. "VVood- 
hull's benefit, meeting with eminent success, and receiving 
the most nattering notices of Major M. Noah and other 
experienced theatrical critics, he commenced an engage- 
ment with Gilfert, at the New Bowery, playing some 
eighty consecutive nights to crowded audiences. At this 
time Forrest had reached within a few rounds of the top 
of the dramatic ladder to fame, carrying, as the saying is, 
" everything before him." After leaving the Bowery, For- 
rest made the tour of the States, creating a furore wher- 
ever he appeared. 

After Gilfert left the Pearl Street Theatre it remained 
closed for some months, until re-opened by George 
Barret, Gilfert's old stage manager, who had a very effi- 
cient stock company comprising many of the members 



Theatrical Reminiscences. 39 

of Gilfert's unsurpassed company; but the fates appeared 
to be against " Gentleman George," as he was familiarly 
called, and he was obliged to retire, and take a position 
as leading genteel comedian in one of the New York 
theatres. The exorbitant rent of the Pearl Street Theatre 
was a great drawback, as it took the lion's share of the 
receipts of the establishment. 

About August 8th, the theatre was opened by 
Henry Wallack, brother of the eminent actor, James Wal- 
lack founder of "Wallack's Theatre," New York, with 
a first-class dramatic company. It was expected that Wal- 
lack would appear at the opening ; in fact, he was to have 
advertised as Rolla, Mr. Parsons playing Pizarro. Wallack 
had been on a pleasure jaunt South, leaving his assistants 
to run the establishment during his absence, and on re- 
ceiving information of the proceeds of the house during 
his absence, they not proving, perhaps, to be sufficient to 
pay his lordship's expenses while on his pleasure trip, 
swore in the bitterness of his wrath that the house should 
be closed, and remain so for aught he cared, sine die ; and 
the thing was done, although there was a prospect of do- 
ing a fair business. The pure English blood of Mr. Henry 
Wallack had been very much excited, and he took this 

method of "teaching the d d Yankees a sense of their 

duty!" And perhaps he served them about right, as at 
that time Americans were such consummate fools, or 
toadies, as to exalt every upstart foreigner, no matter how 
undeserving, over their own countrymen ! 

At this time both the theatre and splendid amphitheatre 
on North Pearl street were closed, and the play-going 
public for a time experienced a perfect dearth in the way 
of amusements. 

The stockholders leased the theatre to Mr. Lenient, 
(pronounced Lema.) who kept a hotel south side of State 
street, a few doors east of Pearl, but soon re-leased it to Mr. 
Sanford, proprietor of the La Fayette Theatre, New York. 



40 Theatkical Reminiscences. 

Sanford then had a lease of the North Pearl Street Amphi- 
theatre, which he deemed more advantageous to close 
and run only one establishment. Sanford's dramatic 
company was considered one of the very best in the coun- 
try, with Mr. Burrough, a great and very versatile actor, 
as stage manager. Mr. Sanford produced all the sterling 
legitimate old comedies, tragedies and melodramas, be- 
sides spectacular pieces gotten up on a most mag- 
nificent and elaborate scale. But notwithstanding the 
indefatigable manner in which the establishment was 
managed, the unsurpassed dramatic company attached, 
and the rich intellectual treats nightly presented, the 
theatre was only indifferently supported, and Mr. Sanford, 
after struggling hard to keep the ship afloat had to strike 
his colors, and surrender with a much lighter exchequer 
than when he came here. During Mr. Sanford's entire 
management not a dollar remained on the debit side of 
any man's ledger against him, and he left the city with a 
truly honorable record, which was rather a rare instance 
with managers even in those days. 

Elijah J. Roberts, editor of a paper called the Crafts- 
man, leased the theatre, but soon found it an up-hill busi- 
ness, and after a pretty thorough depletion of his purse, 
he abandoned the enterprise, and again assumed the chair 
editorial, a position for which he was far better qualified 
than running a theatre. 

George Vernon, with a full and talented stock company, 
succeeded Roberts. He continued the management of 
the theatre for several months, when his health became so 
greatly impaired — losing his voice — that he was obliged 
to relinquish his interest in the establishment and retire 
to a farm he had purchased a few miles west of this city 
Mr. Vernon was one of nature's noblemen, a gentleman 
of the old school, highly educated, and a dramatic artist 
of the very first order. Mr. Vernon died soon after he 
gave up the theatre, and was buried in the old Protestant 



Theatrical Reminiscences. 41 

Episcopal burying ground on State street, in this city. 
Mrs. Vernon erected a fine tablet to his memory. Speak- 
ing of George Vernon, brings vividly to mind his estima- 
ble widow, who was the leading female artist of Vernon's 
company. The career of a lady like that of the late Mrs. 
Vernon, who died in the seventy- seventh year of her age, 
is one of the thorough refutations of the charges often 
made against the stage and its surrounding influences. 
Mrs. Vernon, who had passed her whole life in active ser- 
vice as an actress, was as thoroughly and entirely a lady as 
any of the honored matrons — American wives and moth- 
ers — who never ventured beyond the sanctity of private 
life. To the present generation of play-goers she was not 
only a valued artist but almost a traditional name; for 
but few of our citizens who attend theatrical representa- 
tions have done so further back than 1827, when Mrs. Ver- 
non first: appeared in this country. Ever since that date 
she has been recognized as a sterling actress. Every face 
lighted up with pleasure when Mrs. Vernon entered on 
the scene. Years fell upon her lightly, and though they 
robbed her of the freshness of youth, they imparted a ten- 
der dignity which, while it assorted well with her time of 
life, did not destroy the sense of humor and the delicate 
gaiety that were always so characteristic of her acting. 
For many years our theatre-goers have looked upon Mrs. 
Vernon as a beloved friend, nor was this friendly feeling 
taxed to allow her failing faculties, as is so often the case 
with veteran actors, for Mrs. Vernon up to within three 
months of her death, acted with as much energy and skill 
as at any time during the last twenty years. It is some- 
thing worthy of special record in the annuls of the stage, 
that an actress should, in her seventy-seventh year, delight 
and gratify as much as she did when she was forty. The 
mere fact that she retained the memory needed to play 
long parts to this advanced age, and with it her bodily 
activity, is as remarkable as it is gratifying. When to all 



42 Theatrical Keminiscences. 

this it can be added that she inspired in private life an 
affection and esteem even greater than that reflected in 
her public associations, it will be seen that the American 
stage has lost in her one whose honorable reputation it 
must ever be grateful for. 

Mrs. Vernon was a native of Brighton, England, her 
maiden name being Jane Merchant Fisher. Shortly after 
her arrival in this country in 1827, she married Mr. George 
Vernon, who died three years later, leaving a young widow 
who never after changed her name. At the Bowery The- 
atre in the days when it was one of the most prominent 
places uf amusement in New York, and at the Chatham, 
Park, the Old Broadway, Burton's and Wallock's, Mrs. 
Vernon has played a great variety of parts in the wide 
range of modern comedy. In her younger days she took 
the leading characters, but for many years past has been 
known by her inimitable representations of "first old 
women." Mrs. Skeivton was a personation in which she 
excelled; Mrs. Malaproj) was one of her favorite parts; 
and as the housekeeper in " The Old English Gentleman," 
she mingled with the absurd elements of the character a 
touch of pathos that was as beautiful as it was natural. 
She never o'erstepped the modesty of nature, and she, a 
genuine talent and an accomplished lady, proved how un- 
necessary to a cultivated mind, are the extravagances and 
" dodges " which so many of the actresses of the day deem 
essential to secure success and popular recognition. 

Mrs. Vernon was a regular communicant of the Pro- 
testant Episcopal Church. Her funeral in New York was 
very numerously attended, not only by the profession, but 
by a large representation of the very first citizens of New 
York. Mrs. Vernon, it is pretty generally understood, 
was the elder sister of Mrs. James Maeder, nee Clara 
Fisher, who is still engaged in her professional capacity. 



CHAPTER VII. 

OLD PEARL STREET THEATRE. 

"William Rufus Blake — His Yanity — His Eccentricities — His 
Affaires d' Amour — His Theatrical Management — His Suc- 
cess — How he Lost his Dinner— The Consequences Thereof— 
The Poor Scotch Cook, and her Dilemma — Blake goes to 
Boston — Has a Laison with a Beautiful Boston Belle — 
Leaves Boston, and goes to New York, etc. 

Old play-goers will doubtless well remember William 
Kufus Blake, commonly called in his profession, the 
" Duke/' who assumed the management of the Pearl Street 
Theatre after the dissolution of the copartnership of Blake 
& Dinneford. The private as well as dramatic career of 
Blake, had it been truthfully written out, would have af- 
forded a very rare treat for those theatrically inclined. 
We can, however, give only an inkling of some of the 
scenes and incidents of his theatrical career while in 
Albany. 

Blake, we think, was born in Nova Scotia, coming to 
this country when quite young. After appearing in Bos- 
ton and New York, he was engaged by Gilfert, of the Pearl 
Street Theatre — one of the most accomplished, genteel, or 
light comedians of the day, and withal a splendid looking 
fellow — a great favorite with all classes, and especially the 
upper classes of Albany — the beau ideal of the female por- 
tion, who seemed to regard him as 

" The glass of fashion, and the mold of form, 
The observed of all observers." 



44 Theatrical Reminiscences. 

Blake became more of a favorite among some distingue 
fair ones of the upper classes of society in Albany, than 
would seem fitting. 

Blake left the Pearl Street Theatre some time before 
G-iliert relinquished it, and moved to Boston. He soon 
left the " Hub," on account of a rather important affaire 
d' amour with a distinguished belle of that city, and ob- 
tained an engagement in New York. He often boasted — 
for he was inflated with vanity — that he was actually 
obliged to leave Albany on account of his beauty and rare 
accomplishments ; that they were playing the d — 1 with 
all the pretty women in the city ! The imposing title of 
" Duke " was given to Blake on account of his high aris- 
tocratic notions and bearing, and his inflated idea of 
" having come of gentle blood." Probably Blake thought, 
as did Madame Melnotte in the " Lady of Lyons," that her 
son Claude, " though he was not a Prince, he ought to be 
one, as he looked and acted so like a Prince." 

Blake, when manager of the Pearl Street Theatre, made 
money very rapidly, but his extravagance in living ever 
kept him " short." He had an exceedingly fine stock com- 
pany, with an occasional sprinkling of first-class stars, 
and produced many magnificent spectacles on a very 
elaborate and expensive scale; but after running the es- 
tablishment for a few months, he relinquished its manage- 
ment and went to New York, leaving many lasting " re- 
membrances " behind him in the shape of large debit 
balances on many a ledger. He resumed his position as 
leading light comedian on the boards of one of the metro- 
politan theatres. In later days he became quite corpulent, 
and finding himself approaching the "sere and yellow 
leaf of time," and that it had began seriously to tell upon 
him, he was obliged to assume the role of " old man," at 
Wallack's Theatre, in which line, and at which theatre, he 
was playing until a short time previous to his death, in 
1865 or % 66. 



Theatrical Reminiscences. 45 

Blake was an epicure of the very first water — we might 
safely say a gormand — as his abdominal proportions in 
after life so plainly indicated. He would never forego his 
dinner — his principal meal — for either pleasure or busi- 
ness, no matter how pressing. He was similar in this re- 
spect to old Fallstaff, who would forego all things rather 
than his favorite " cup of sock ! " There are many very 
amusing anecdotes of Blake which we should like to relate, 
but must be content with one only, and that is how he 
"lost his dinner." B. occupied rooms adjoining the green 
room in the Pearl Street Theatre, where he and his wife 
kept house. For his dinner he had ordered a splendid 
turkey. His directions to his cook — a buxom Scotch girl — 
were to have his dinner ready precisely at a certain hour, 
without fail. It happened that he was unexpectedly called 
to Troy on business, his wife accompanying him, and was 
detained considerably beyond the time appointed for dinner. 
B. had a very intimate confidential friend, who, happening 
to drop in during the absence, thought it an excellent 
chance to perpetrate a joke at B/s expense. He accord- 
ingly took the turkey, which was nearly ready for the spit, 
and secreted it in an under closet, where he was pretty 
sure it would not be found in time to spoil his joke, and 
hastily left the theatre. The joke was favored by the girl's 
stepping out to procure some condiment to season the 
trimmings, leaving the field clear for the successful oper- 
ator. The girl's feelings and astonishment on her return, 
to find the turkey gone, is more easily imagined than des- 
cribed. At length B. and his wife returned, B. rushing 
in, his appetite having been sharpened by his ride, as well 
also, perhaps, as a glass or so of eau de vie, on the Troy 
road. On reaching the inner door he heard loud sobbing 
and wailing from within — they came from the bewildered 
girl, who was lamenting the loss of the turkey, and the 
attending consequences of the dreadful mishap. He 
opened the door, and exclaimed, " Good gracious " — his 



46 Theatrical Reminiscences. 

favorite exclamation — " Margery', what's the matter ? 
Have you burnt yourself basting the turkey ? " 

" Nae, nae, Mister Blaik, I wish it wa' na' worst — oh sic 
an affair — gin I's a woman, auld Clotie, that's the deil 
himsel', and his imps, them's the bogels, ha' tak'n awa' the 
crither ! " 

"Why, what do you mean — are you mad, old Clotie, 
bogles — you don't say the turkey's gone, and if so, who 
took it?"' 

" I dinna ken wha' teuk it, but it's a gane — I dinna 
think it was the dog, or I wo'd ha' ken'd it." 

" Did you leave the room for any length of time ? " 

"Just aboon sax minutes I was gang awa' to get a wee 
bit o' somethin' for the trimmins. I'll tak' ma aith wi' 
ma han' upon the guide book I was na' gan aboove sax 
minutes, na mair, an' I'm sure the deil himsel' ha' speerit'd 
it awa'." 

Here was a catastrophe, indeed. Cheated out of his 
dinner ! Finding it was useless to question the supersti- 
tious girl farther, diligent search was made, for the stray 
turkey, but all in vain. Then, indeed, did Blake enact 
the " Manager in Distress " more naturally than he had 
ever before performed it — also Delph, in " Family Jars." 
Chairs were overturned, dishes misplaced and considerably 
damaged — a blue streak of something that would'nt look 
well in print coming from B.'s mouth, and the " de'l him- 
sel' to pay generally. Blake did not feast upon the plump, 
juicy turkey that day, but made a luncheon of the remains 
of a piece of corned beef that happened to be left over. 
The turkey was, however, found the following day, none 
the worse for "laying over;" and in spite of poor Mar- 
gery's " bogles," Blake had a sumptuous feast, to the great 
delight of all, but to none more than to poor Margery, the 
Scotch cook. 

Blake was pretty well satisfied that some old acquaint- 
ance had perpetrated the hoax, but had made up his mind 



Theatrical Reminiscences. 47 

to say as little as possible about it. It was some two 
months before the "cat was let out of the bag." This 
friend and Blake being at a private free and easy, "owned 
up," and the affair was pleasantly discussed over several 
bottles of choice Heidseick, at the expense, of course, of 
the perpetrator of the joke. 

Blake used often to tell the story of the lost turkey, as 
well as the lost dinner, when with a convivial party, and 
enjoyed the joke with great gusto. 



CHAPTER VIII. 

Tom. Fuller, the "Artful Dodger" — His Characteristics— His 
Sudden and Mysterious Escape to IsTew York — Forrest 
Makes His Last Appearance at the Pearl Street Thea- 
tre — Amateur Performances — Master Burke and Tyron 
Power — A Row at the Theatre — Preston's Management — 
Theatre Sold to St. Paul's Church — Church Converted 
into Academy of Music by John M. Trimble, &g. 

Tom. Fuller succeeded Blake in the management of 
this theatre, and met with considerable success. His stock 
company comprised members of the profession with talent 
and character, and had Fuller been a man of honor or 
honesty, he might have had a splendid success; but he 
was truly an "artful dodger" — a name he won from those 
whom he had made to suffer. Forrest played a two weeks' 
engagement under Fuller's management to overflowing 
audiences, the theatre closing the last night of Forrest's 
engagement, the house being the largest of the season. 
This was the last time Forrest appeared at the old Pearl 
Street Theatre. 

Among the many victims to the dodge-game of Fuller 
was Charley Eaton, the young tragedian who had sup- 
ported Forrest through the engagement just closed. The 
day after, Charley, with a huge cudgel in hand, searched 
the premises, but Fuller was non-comatible. Charley de- 
clared, after a vain search, that " had he found him, his 
life would have been of no more account than that of a 
dog's." It appeared that F. had secreted himself in the 



Theatrical Reminiscences. 



49 



garret of Washington Hall, kept by jolly Sam. Fuller, 
(no connection of the manager,) a hotel adjoining the 
theatre on the south, and there remained till towards 
evening, when he slipped into a carriage from the back 
door of the hotel, and was driven down the river to a 
point, where he was taken aboard the night boat in a small 
boat — (way-passengers in those days were taken aboard 
and put ashore in small boats). So poor Charley was left, 
with many other victims of misplaced confidence, to chew 
the bitter cud of disappointment. 

It is a somewhat remarkable fact, that it was, in 1826, 
thirteen years before, that Forrest made his first appear- 
ance on the boards of this venerable edifice. The theatre 
was then closed for quite a length of time, until Mr. W. S. 
Preston opened it with an excellent company, running it 
with very fair success till the year 1839, when it was sold 
to St. Paul's Church, an Episcopal congregation then wor- 
shipping in the edifice now occupied by St. John's Catho- 
lic Church, in Ferry street. It continued as a church 
until 1862, when it was sold for $14,000, (it originally cost 
$25,000,) and in December, 1863, was opened by J. M. 
Trimble as the Academy of Music. On removing the 
floor of the church, the original pit and orchestra were 
found to have been left as they stood twenty years before, 
when the edifice was transformed and remodeled for a 
church. Mr. Trimble fitted up the old edifice in splendid 
style, and opened it December 28, 1863, with the play of 
Lady of Lyons, with the following cast of characters : 

Deshapelles Sydney Smith. 

Pauline Anne "Wait. 

Mad. Deshapelles.. Mrs. La Bran. 
Widow Melnotte . . Miss Hampton. 



Claude Melnotte Mr. Stetson. 

Beauseant Mr. Page. 

Col. Demas Mr. Ryer. 

Glavas Mr. Ashley. 

Gaspard Mr. Murdock. 



The Academy of Music was considered one of the most 
successful enterprises of the kind ever undertaken in Al- 
bany, Mr. Trimble making a net profit of $20,000 the first 
4 



50 Theatrical Eeminiscences. 

year. After the death of Mr. Trimble, his daughter, Miss 
Georgiana, (now Mrs. Lucien Barnes,) who possessed much 
business tact and capacity, assumed the management, and 
run the establishment with eminent success until it was 
destroyed by fire January 29, 1868. 

During the intervals between the various managements, 
occasionally amateur and other performances of a dramatic 
character were given at the Old Pearl Street Theatre. Miss 
E. Davenport, who has since figured as one of the most 
charming actresses — and, as Mrs. Lander, has appeared 
with such eclat in England and America — opened the 
theatre for several nights, just after she had entered the 
profession as a " prodigy." On this occasion she was sup- 
ported by several members of the old Histrionic and For- 
restonian Societies, among them Stephen Hutchins and 
Frank Briare. The plays were Douglas, Miss Davenport 
doing Young Norval ; The Four Mawbrays, Therese, The 
Orphan of Geneva — Hutchins doing Carwin, Quacken- 
bush, Father Fontaine, and Frank Briare, Mariette — and 
very creditably did they acquit themselves. Frank had 
enacted Julia, in the play of the Hunchback, and several 
other female characters, with success. He possessed dra- 
matic talent of an extraordinary character, and would 
have made his mark had he followed the dramatic pro- 
fession. 

Another Dramatic Festival was given at this theatre, 
when Sheridan Knowles' fine drama of the Wrecker's 
Daughter was enacted, the performers being mainly com- 
posed of the Histrionic and Forrestonian Societies. The 
arduous role of Marian was personated by Frank Briare, 
and in it he made a very splendid hit. In the delivery of 
some of the soliloquies, young Briare appeared to many 
competent judges present the counterpart of that eminent 
actress, Mrs. John Greene, who had often enacted the 
character. In the abstracted scenes, he gave a bold imita- 
tion of those celebrated artists, Josephine Clifton and 



Theatrical Reminiscences. 51 

Julia Dean, who had made the character a specialty. The 
part of Robert, the Wrecker, was enacted by James Can^ 
roll, and that of Black Norris by Stephen Hutchins, and 
were impersonated in a manner that elicited the hearty 
approbation of the large and respectable audience present. 
The National Brass Band, under the leadership of Lewey 
Undener, volunteered their services for the occasion, and 
discoursed excellent music. 

COMPLIMENTARY BENEFIT TO MR. DUEFY. 

There were many events that took place within the 
walls of the Old Pearl Street Theatre that will no doubt 
be well remembered by old play-goers, two of them having 
produced at the time no little excitement. The first was 
the complimentary benefit tendered to Manager William 
Duffy, which was indeed a brilliant and very successful 
affair. Our leading and influential citizens took a lively 
interest in it — the tickets were $3 each, and the theatre 
was graced by the beauty and fashion of the city. It was 
a compliment he richly merited as a man and an actor. 
Mr. D. was called before the curtain, and made a very feel- 
ing and appropriate response. 

TYRONE POWER. 

The next event was the appearance of the great Irish 
comedian, Tyrone Power. Power was inflated with very 
high notions, and was exceedingly aristocratic ; he claimed 
to " come of gentle blood/' and that he was a brother of 
the celebrated Lady Blessington, priding himself very 
highly on that score, and deeming himself far superior to 
every body and every thing in young Yankee land. It ap- 
pears that on one night of his engagement the audience 
was not as large as suited his fancy, and, to use his ow T n 
language, he said, "I will not play to such contemptible 
houses." £his at once aroused the indignation of many 



52 Theatrical Reminiscences. 

prominent citizens. Handbills were circulated, contribu- 
ting greatly to increase the flame ; hissing, howling, and 
cries of " Hustle him out," were the order of the night. 
Power attempted to speak, showing that he was desirous 
of making an apology, but could not be heard. John 
Greene, stage manager, appeared, and the house was 
hushed ; he told the audience Mr. Power wished to have a 
hearing, and would no doubt explain himself in such a 
manner as to do away with the prejudice. Still it was not 
till after several attempts that Power was enabled to speak, 
when he finally made a rapid statement of the case, and 
an attempt at an apology, whether sincere or not. The 
play was finally allowed to go on, in pantomime, however, 
for the clamor was such that scarcely an actor's voice 
could be heard, and it continued till the fall of the cur- 
tain. This was Power's last appearance here. He was one 
of the many victims in the ill-fated steamer President, 
lost on her passage from New York to Liverpool, not a 
vestige of the passengers or steamer ever being heard of. 

DEMONSTRATION AGAINST MASTER BURKE. 

When the celebrated Master Burke, then in the zenith 
of his fame as a " prodigy," appeared at this theatre, sev- 
eral of his countrymen made a demonstration against 
him, the provocation being, it was understood, that young 
Burke's father had made some remarks disrespectful to 
Daniel O'Connell, that keenly touched their patriotic 
sensibilities. The American portion of the audience, 
deeming it unjust to visit the sins of the father upon the 
child, espoused the cause of young Burke. For a time 
matters assumed a serious aspect ; in fact, the demonstra- 
tion reached so high a pitch that the "watch" — for we 
had no " Capital Police " in those days — were called to the 
rescue, and the active and leading spirits in the melee were 
unceremoniously ejected from the theatre. The perform- 
ance was then allowed to go on without further disturbance. 



CHAPTER IX. 

Grand Firemen's Ball — Its Managers — Charlotte Cushman the 
Belle of the Affair — The Observed of all Observers — 
Thomas McMullen, in full character, as Floor Manager — 
Terrific Sword Combat between the Elder Booth and 
William Duffy — Richard III, in Burlesque, by Geo. Hyatt 
and old Jack Barnes — Richard III again by Hyatt and 
Roberts — Col. Pluck's Spurs, etc. 

Among the memorable events that occurred in this 
theatre, were the celebrated ball in honor of General 
Jackson and the battle of New Orleans — the Firemen's 
Ball, and benefit of the Young Men's Association, on 
which occasion the celebrated Master Burke appeared as 
Richard III. We will only allude to one of these balls, 
the one probably surpassing in splendor any event of the 
kind ever gotten up in Albany, especially by that noble 
body of men, the firemen. This ball was attended riot 
only by our first-class citizens, but by large numbers from 
Philadelphia, New York, Boston and other cities. The 
military of this city and military and firemen of other 
cities were largely represented. Among the ladies who 
figured most conspicuously in the brilliant throng, was 
Charlotte Cushman. In all the freshness and bloom of 
youth, magnificently attired, her head adorned with an 
immense and beautiful bird of Paradise ; as she threaded 
the mazes of the dance, or moved gracefully in the prome- 
nade, her stately form towering above her companions, 
was the " observed of all observers," the " bright particu- 
lar star " of the evening. 



54 Theatrical Keminiscences. 

The space occupied for dancing included the entire stage 
and covering of the pit, affording ample accommodations 
for over fifty sets — the entire circle of the boxes was 
elaborately decorated with flags, banners, insignia of the 
department — massive mirrors, elegant paintings and por- 
traits were suspended on all sides. The first tier of boxes 
was filled with that portion of the fair assemblage who 
chose to remain as " lookers on," rather than join in the 
dancing. The most gorgeous portion of the scenery, such 
as parlors, castles, woods, streets, courts, mountains, used 
in the representations of those grand spectacles, " Norman 
Leslie," " Bride of Abydos," " The Jewess," &c, were ar- 
tistically arranged around the stage, and, giving additional 
beauty and grandeur to the fairy scene, reminded the 
spectator of oriental scenes described in the Arabian 
Nights. 

The music — a full orchestra — was under the direction 
of Professor Anthony G. Graves. An entire new set 
composed expressly for the occasion and called the " Fire- 
men's Cotillions," were introduced, in parts of which, with 
the Kent bugle, drum, violin and a large bell, an effect, 
resembling all the noise, bustle, and confusion incident to 
an alarm of fire, was produced. It is strange these once 
so popular cotillions are not more frequently introduced 
at our large, balls. 

The spacious saloon of the theatre was fitted up as a 
gentlemen's supper room, and suits of rooms in B. M. 
Briare's large cream and confectionery establishment ad- 
joining the theatre, were elegantly and tastefully fitted up 
as a ladies' supper room, an entrance having been cut 
through from the theatre. When it is known that they 
were furnished by that well known caterer, B. M. Briare, 
it is unnecessary to say that the supper and accompani- 
ments were recherche. 

Alderman Thomas McMullen was chairman of the floor 
managers, and well he performed the duties assigned to 



Theatrical Reminiscences. 55 

him. He was dressed in character, satin tights, black 
swallow-tail coat, with a large red and white rose looming 
out on either breast. " Tommy" was a character — active, 
energetic and ever ready to take a hand in any good thing. 
He was the first man who essayed to reform our miserable 
militia system, by getting up burlesque parades with the 
raw material, and dubbing them " The Fusilliers." Sim- 
ilar parades were immediately inaugurated in the principal 
towns in the State, and finally resulted in giving the death 
blow to " fuss and feathers " of the old general training. 
Mr. McMullen received, by unanimous consent, the title 
of "Colonel Reform," and bore it with modesty and 
meekness to his death. 

We doubt whether the fetes and balls gotten up in the 
present fast age surpass, or even equal, those given so 
many years ago. 

The following gentlemen were managers of this mag- 
nificent ball: — John G. Tread well, Charles Gay, Samuel 
Van Yechten, H. J. Clark, W. L. McLaughlin, C. L. 
Woodruff, B. M. Briare, P. B. Leddy, T. L. Booth, R. S. 
Cushman, John Brooks, jr., C. Vanderbilt, J. H. Chad- 
wick, J. Linecare, W. W. Jones, George B. Steele, J. F. 
McPherson, J. L. Badgely, J. 0. Wilson, John Osborn, 
Cornelius Glenn, H. C. Southwick, C. McLoughlin, Philo 
Booth, Alex. Brown, S. H. Strain, John Fredenrich, H. 
H. Yates, Cornelius J. Cuyler, S. Putnam, Jacob Leonard, 
Jacob Ten Eyck, W. Harrison, Thomas McMullen, E. L. 
Hart, James Kidd, Spencer S. Benedict, J. McPherson, 
Isaac N. Comstock, P. E. Bowman, John W. Cluett. 

This event took place over thirty years ago. Alas ! 
how many of those who participated in these joyous 
scenes, have passed to that "undiscovered country, from 
whose bourne no traveler returns." Of the managers, 
more than one-fourth of the number have passed away. 



56 Theatrical Beminiscences. 

combat between booth and duffy. 

When Lucius Junius Booth was playing an engagement 
at the Pearl Street Theatre, he came in the box office one 
morning looking quite moody, and apparently not a little 
out of sorts. He was greeted by Mr. Duffy, with a " How is 
the citizen soldier this morning ? " (This sobriquet was 
given Booth by Mr. Duffy, and as such he was pretty 
generally known in the profession.) " Well," said Duffy, 
" it seems we are to measure steel to-night." " Yes," re- 
plied Booth, "and I charge you, by all that you hold 
sacred, to look well to your guard in the combat scene, 
for I am in fighting trim." " Never you fear, sir," was 
Duffy's reply, "you'll find me fully up in my part or 1 
much mistake myself." And, as the sequel will show, he 
was up in his part, for Duffy evidently knew that Booth 
" meant mischief." The play was Ei chard III, Booth, of 
course, doing his favorite role of Eichard, and Duffy that 
of Eichmond. Both actors were in fine trim, and " eager 
for the fray." 

The play went off admirably, Booth never, perhaps, ap- 
pearing more brilliant in the character. There appeared 
to be a premonition among a few of the audience that the 
combat scene on this occasion was to be something more 
than usual, and great anxiety was evinced to see it. The 
combat at last commenced, and a terrific one it was. 
Booth having worked himself up to a high degree of ex- 
citement in the battle scene, where he cries, " A horse ! a 
horse ! my kingdom for a horse," had become desperate. 
His thrusts, lunges and cuts were fearful. Duffy was 
cool and collected, parrying with consummate skill. He 
was an excellent fencer — sparks of fire rolling from their 
swords, the chances appearing to be about equal. Booth 
finally, finding that he had his match, resorted to his old 
dodge of " playing down," or " driving to the corner," his 
antagonist. Duffy, however, was fully on his guard, and 
by making a " feint," threw Booth off his guard, striking 



Theatrical Reminiscences. 57 

Booth's sword with great force, and hurling it several feet 
over his head. 

Booth, evidently greatly chagrined at his discomfiture, 
storming and fretting like a caged tiger, quickly made vain 
attempts to regain his weapon, but finding himself much 
exhausted, made the " last fall," thus ending one of the 
most severe stage combats we ever witnessed. The dying 
scene of Booth was truly frightful — his eyes, naturally 
large and piercing, appeared to have greatly increased in 
size, and fairly gleamed with fire ; large drops of perspira- 
tion oozed from his forehead, and coursing down his 
cheeks, mingling with and moistening the large black 
ringlets of the wig he usually wore in Richard, caused 
them to adhere to his face, rendering his appearance 
doubly horrible. The remarkable portrayal of the pas- 
sions — the despair, hate, grief — in the passage in the 
original text, which reads — 

" But the vast renown thou 
Hast acquired in conquering 
Kichard, doth grieve him more 
Than the soul parting from the hody," 

has probably never been surpassed, even by George Fred- 
erick Cooke, whose Richard is said to have excelled all 
others. 

GEORGE HYATT AND OLD JACK BARNES. 

It will be recollected by many of our older citizens that 
on the corner of South Pearl and Beaver streets stood an 
old yellow brick tavern, called the " Rising Sun Tavern," 
kept by Crosby, and at a later date by Carter. Speaking 
of this old tavern, which was afterwards called " Crosby's 
Hotel," brings to mind George Hyatt, the inimitable low 
comedian, attached to Gilfert's Pearl Street company. 
Hyatt was a gentleman of polished manners, brilliant in- 
tellect, and a highly finished education. He was the au- 
thor of several valuable works, and possessed a fine musical 



58 Theatrical Reminiscences. 

taste and talent. He composed several popular airs, among 
which was the beautiful song, " The Mellow Horn," sung 
with great eclat by Phillips. 

Hyatt had a benefit at the " Old Pearl," doing Richard 
to the Richmond of " old Jack Barnes," the celebrated 
low comedian, for many years attached to the Old Park 
Theatre, New York — the piece was, of course, played in 
burlesque throughout. The idea of two such eminent 
comedians playing tragedy, was sufficiently novel and 
ludicrous to attract an immense audience, and it was kept 
in continued roars of laughter throughout the perform- 
ance. The combat scene between Richmond and Richard 
was as good as a score of first-class farces. During the 
fiercest of the combat Hyatt got his sword between his 
legs, and fought with his back to his antagonist, as if 
fearful of getting a slash across the face or stomach. 
Barnes was equally ludicrous in his cuts, parries, thrusts 
and guards. After Hyatt had fallen, Barnes stabbed him 
a la posteriori, and raised his weapon as if to strike, when 
Hyatt, looking up, shook his fist at him, and exclaimed: 
"Jack, would you hit a fellow when down — it's foul — 
cowardly!" Hyatt then made preparations to die; took 
off his mantle, folded and laid it down for a pillow, and 
quietly laying himself down, addressed Richmond (Barnes): 
" Jack, I'm done for — the game's up — go and treat, and 
we'll call it quits ! " 

It is scarcely necessary to say this brought down the 
house, cheer followed cheer, making the welkin ring, and 
continuing till long after the curtain went down. Hyatt 
then came forward and made one of his unique and 
laughter-provoking speeches. 

From the scene in Richard, when the dead body of 
King Henry is borne in upon a bier, we quote the dia- 
logue between Richard and the bearers of the corse, in 
order that it may be more fully understood by the reader: 

Richard — Take up the corse, sirs. 



Theatrical .Reminiscences. 59 

Bearers — Towards Chertsey, noble Lord ? 

Richard — No; to White Friars; there attend my 
coming. 

Hyatt gave the following version of the above text : 

Hyatt — No; to Crosby's (meaning Crosby's hotel,) 
there wait my coming, and we'll have a drink all round I 

This scene also created great applause, a large part of 
the audience rising to their feet, waiving hats, handker- 
chiefs, &c. With two such eminent comedians as Hyatt 
and Barnes, this was probably the richest burlesque per- 
formance ever witnessed on any stage. 

ANOTHER SIMILAR SCENE. 

At the old Chatham Garden Theatre in New York, 
Roberts, an unsurpassed low comedian, and George Hyatt, 
played Richard III — Roberts appearing as Richard, and 
Hyatt as Richmond. Owing to the singular cast of char- 
acters, it was generally expected that the play was to be 
a burlesque, but with the exception of now and then a 
word, Roberts closely imitated the "proud representative 
of Shakspeare's heroes," until the fifth act, when the an- 
ticipations of the crowded audience were fully realized on 
beholding the crook-backed tyrant, his boots adorned 
with the celebrated " Col. Pluck's" huge spurs, which had 
been brought on from Philadelphia and presented to the 
late Col. William L. Stone, editor of the old New York 
Commercial Advertiser. Col. Stone kindly loaned them 
to Roberts for the occasion. Hyatt, (Richmond,) after 
having slain Richard, slapped his arms against his sides 
in imitation of a rooster, and crowed three times at the 
top of his voice in triumph over Richard's remains! The 
effect upon the audience can be imagined — the applause 
elicited lasting for a long time after the curtain fell. 



CHAPTER X. 

THE TKIMBLE OPERA HOUSE. 

Incipient Steps for Rebuilding the Academy of Music — Nu- 
merous Plans and Movements Fail — Lucien Barnes Final- 
ly Succeeds in Organizing a Company to go on with it — 
Brief Sketch of its Management, &c, from the Period 
of its Opening to the Present. 

After the burning of the Academy of Music, there was 
for a long time perfect dearth in regular theatrical amuse- 
ments in Albany. The play-going public demonstrated, 
in a marked degree, their desire for the revival of this 
class of amusement, and numerous projects sprung up. 
The legislature was appealed to, to throw the protecting 
arm of an enabling enactment over the parties who pro- 
posed to organize a company to replace the lost dramatic 
temple; but this, like all the other plans, was at length 
abandoned. At last Mr. Lucien Barnes took hold of the 
matter, and succeeded in forming a company that should 
remain sufficiently permanent to insure the success of a 
first-class theatre. Mr. Barnes matured his plans during 
the summer, and on the first day of November he began 
work. In the short space of fifty-three days he had erected 
the Trimble Opera House, and the first entertainment was 
given on the evening of December 31, 1869. The theatre 
was opened by as good a stock company as could be se- 
cured at that season of the year. Mr. Barnes played his 
stock company to a very fair business till some time in 
January, when the star system was introduced. Mr. E. 



Theatrical Reminiscences. 61 

Eddy appeared as the first star, playing a very successful 
engagement, the nightly receipts being larger than that 
of any star that had preceded him, even in the days of 
the Academy of Music. The popular actor, Edwin Adams, 
succeeded Mr. Eddy, doing a large business. The great 
sensational play of " After Dark " was then brought out 
in magnificent style, and played by the stock company 
many consecutive nights to very remunerative houses. 
Following this were the engagements of the Watkyns, the 
"Williams, the Florences, Chanfrau, Brougham, and other 
stars. The sensational and beautiful play of "Ixion" 
was then placed upon the stage in a very gorgeous style, 
and had a profitable run of several weeks. The " Black 
Crook" soon followed " Ixion," and so magnificently was 
it gotten up and admirably played, that it had (for Al- 
bany) the unprecedented run of thirty-five nights, and up 
to the time it was withdrawn the house was filled to its 
utmost capacity. This closed one of the most successful 
theatrical seasons known in Albany — the season being 
quite short, (about one hundred and thirty-seven nights,) 
and the grand total of receipts amounting to considerably 
over $44,000. 

During Mr. Barnes' management of the Trimble Opera 
House, besides producing a large number of gorgeous 
spectacular pieces, the most prominent being the " Field 
of the Cloth of Gold," all the prominent stars, Forrest 
included, appeared in rapid succession, besides all the 
grand Italian and English combination opera troupes 
extant. 

Mr. Barnes evinced a remarkable activity and energy in 
erecting so elegant a place of amusement in the unprece- 
dently short period of fifty -three days. The theatre is 
conceded to be the equal of any of its size in the Union, 
and Edwin Forrest declared, on his last appearance here, 
"that the Trimble Opera House was, in all its appoint- 
ments and surroundings, one of the finest theatres that he 



62 Theatrical Keminiscences. 

had yet appeared in, and that Albanians had just cause 
to be proud of such an institution." But it would seem 
that, with all his energy and activity as a practical busi- 
ness man, Mr. Barnes did not prove a success. Either 
from a lack of experience in the general conduct of a 
theatre, or a seemingly marked disinclination to avail 
himself of the ripe experience of successful managers, his 
inevitable failure was early predicted by those familiar 
with theatrical matters. 

After he retired from the management, the lease was put 
up at auction, and purchased by Aaron Eichardson, who 
immediately went to work, and at a very liberal outlay 
effected many important and desirable improvements. 
Many of Mr. Richardson's friends seemed to think that it 
was a useless expenditure of money to undertake to im- 
prove the interior of the edifice — that it would be like 
attempting to "gild refined gold;" but Mr. Richardson 
saAV room for improvement, and at once acted upon the 
suggestion, and effected in a short space of time almost 
an entire transformation of the interior of the edifice. 
Among the improvements were the putting in of ten addi- 
tional boxes, or " stalls," accommodating six persons each, 
fitted up with elegant carpeting, comfortable chairs — 
making quite a new feature, and adding greatly to the 
general appearance of the auditorium. In place of wooden 
settees in the parquette, nearly an entire new set of iron 
chairs were added, giving greater cheerfulness to that part 
of the house. The walls were elegantly frescoed and 
painted, the blending of the maroon, gold and drab pro- 
ducing a charming effect upon the whole. Another great 
desideratum was accomplished in the way of improve- 
ments, by placing heavy mattings through the vestibules, 
lobbies, passage-ways, and on the stairs leading to the 
dress circle, thus wholly deadening the noise heretofore 
produced by people moving about the house. And taking 
it all in all, it can be said without fear of successful con- 



Theatrical Keminiscences. 63 

tradiction, that the present Opera House is not surpassed 
by any similar establishment in this country, and Alba- 
nians have ample cause to be proud of the institution. 
Mr. Richardson is now running it with energy, tact and 
success. 



CHAPTER XI. 

DIVISION STKEET ACADEMY OF MUSIC. 

Conversion of the Unitarian Church into a Theatre — List 
op Lawlor's Opening Company — E. L. Davenport — Tonet 
Dernier — Success of "Walter Keeble's Management of 
the Capitol Theatre — His Personation of Shaksperian 
Characters, etc. 

Some time prior to any definite movement having been 
made to build the Trimble Opera House, and when there 
seemed little prospect of our city again being favored with 
a regular dramatic temple, Frank Lawlor, at the sugges- 
tion of his friends, leased the old Division Street Unita- 
rian Church, which Mr. Oppenheim had just commenced 
to convert into a place of amusement. Mr. Lawlor took 
hold of the work with energy, and at a considerable out- 
lay converted the old church edifice into a very neat and 
commodious theatre. It was opened on the evening of 
the 5th of October, 1869, under the imposing name of the 
Academy of Music, and with an efficient stock company, 
composed of Messrs. George C. Bonniface, George Eyer 
Charles Hilliard, William C. Crosbie, A. L. Cooke, A. J. 
Sawtelle, C. E. Edwin, J. "W. Walsh and Frank Lawlor ; 
Miss Augusta L. Dargon, Mrs. M. A. Farren, Miss Maggie 
Newton, Miss Alice Brooks, Miss Caroline Carman, Miss 
Florence Vincent, Miss Lana Hall and Miss Louisa 
Howard. 

Mr. Lawlor's enterprise proved an eminent success. He 
was indefatigable in catering to the amusement of his 



Theatrical Reminiscences. 65 

patrons, and exercised an excellent taste and judgment in 
selecting the most approved and popular dramas. He 
placed them upon the stage in an unexceptionable man- 
ner, and they were satisfactorily rendered by his efficient 
dramatic company. At various periods prominent stars 
appeared from time to time. E. L. Davenport, the accom- 
plished gentleman and finished actor, was among them, 
and he attracted numerous and delighted auditories. Mr. 
Lawlor continued to run the Academy quite a length of 
time with fair success, but having another project in view, 
relinquished its management, and Toney Dernier assumed 
the management of it. Mr. Dernier expended a large 
amount in improving the interior, rendering it a neat, 
comfortable place of amusement, and for a time his suc- 
cess was quite flattering, but not sufficiently so to induce 
him to continue its management. 

Mr. Walter Keeble, who was acting in the capacity of 
stage manager, succeeded Mr. Dernier as lessee and man- 
ager, and the People's Capitol Theatre, under his judicious 
and energetic management, has proved a success far sur- 
passing his most sanguine expectations, and become es- 
tablished as among the permanent institutions of Albany. 
During Mr. Keeble's residence in Albany, and particu- 
larly during his managerial career, he has succeeded in 
securing a large share of public confidence, as well as 
enlisting hosts of warm-hearted, disinterested friends, who 
evince a determination to stand by him under all circum- 
stances. Mr. K. has lately impersonated Shaksperian and 
other prominent roles in a style of excellence that has 
stamped him second to few dramatic artists on the Ameri- 
can boards. 
5 



CHAPTER XII. 

THE ODEOtf THEATRE. 

Anecdote of the Elder Booth — He Fails to make His Appear- 
ance as Announced — Is Found in the " Hole in the Wall — 
Is Taken to the Howard Street Jail and Locked Up in the 
Debtor's Room — His Stragetic Operation in Obtaining 
Brandy — The Shaker Pipe — Jailor Isaac Winne in a Quan- 
dary — Destruction of the Odeon by the Great Fire of 1848. 

In the year 1846 or '47, a building on the east side of 
South Market street (now Broadway,) between Hamilton 
street and the steamboat landing, was converted into a 
theatre, and opened under the management of John Oruta. 
It was fitted up in neat style, though it was of rather limi- 
ted dimensions, and opened with a very fair dramatic com- 
pany. Several fine scenic pieces were brought out in a 
manner that would have been creditable to a much more 
pretentious establishment, and several leading stars ap- 
peared upon its boards — among them the elder Lucius 
Junius Booth, who was engaged for six nights. The an- 
nouncement of this engagement and of Eichard III for 
the opening night, as a matter of course, filled the theatre 
to its utmost capacity, with an audience on the very tip- 
toe of expectation and interest to witness the great imper- 
sonation of Eichard. At the time for the performance to 
commence, the " call boy " tapped upon Mr. Booth's dress- 
ing room door, but could not obtain a response from within. 
After a diligent search through the theatre, and no traces 
of Booth being discovered, the manager announced the 



Theatrical Reminiscences. 67 

fact to the audience and threw himself upon their kind 
indulgence, stating, that as Mr. Booth would not appear, 
he should be obliged to substitute another play. Many 
left the house, their money being returned. 

The manager knowing Booth's infirmities, felt sure that 
he was on one of his terrible sprees, and several attaches 
of the theatre were dispatched in pursuit of the missing 
actor. After a long and diligent search, Booth was found 
in a groggery called " Hole in the Wall," in Trotter's Alley, 
laid out on a bench stupidly drunk. In order to guard 
against the repetition of the event and to make sure of 
his appearance on the following evening, Booth was taken 
in a carriage to the old Howard street jail, now the City 
Hospital, and locked up in what was called the " debtor's 
room." Booth did not get over the effects of his orgies 
till the next morning, when he became quite sober, but 
declared himself to be "infernal dry," and that his throat 
was filled with cobwebs. Brandy was the panecea, and 
brandy he must have ; but how to obtain it was the next 
question. This point, however, was soon disposed of. It 
seems "Jim Boardman," who occasionally did chores 
around the jail and who knew Booth well, happened to 
look through the prison door. Discovering the prisoner 
to be Booth, he bid him good morning. The salutation 
met a ready response coupled with a request for some 
brandy. Jim replied 'twas against the rules of the prison, 
and, besides, how could he get the liquor through the nar- 
row grating even if he brought it ? Booth handed out a 
quarter, and instructed him to get half pint of brandy in 
a cup and a long Shaker pipe, and bring both secreted un- 
der his coat. Jim did as directed, handed the pipe to 
Booth, and placed the cup of liquor near the grating. 
Booth then inserted the bowl of the pipe in the cup, the 
stem in his mouth, and instantly drained the cup to the 
very last drop ! When the jailor, Isaac Winne, generally 
known as " Major Winne," entered the prisoner's room a 



68 Theatrical Reminiscences. 

little later, judge of his surprise at finding his prisoner 
certainly as tipsey, if not more so, than when he left him 
the night before. How he became in this plight, or how he 
could have obtained the liquor to produce it, remained a 
mystery to Winne until a long time after Booth left the 
city, when Jim acknowledged his agency in the matter. 
Whether the manager succeeded in keeping Booth suffi- 
ciently sober to fulfil the engagement, we do not remem- 
ber, but are inclined to think that he did appear one or 
two nights after this unexpected incident. 

The " Odeon " was destroyed in the memorable and dis- 
astrous fire in the summer of 1848, when nearly all the 
dwellings, stores and hotels, from Hudson to Lydius street, 
were totally consumed. 



CHAPTER XIII. 

THE GATETY THEATRE. 

Castle, the Popular Opera Singer, makes his First Appearance 
in Albany in a Professional Capacity at the Gayety — 
Peter and Caroline Richings appear in Opera and Comedy — 
Also appear J. E. Murdock, Sothern, Chanfrau, Ada Isaacs 
Menkin, Henrietta Irving, J. Wilkes Booth, who was Seri- 
ously Wounded by a Dagger entering his Side. 

In the year 1859, when Albany could not boast of any 
place of regular dramatic entertainment, and theatricals 
were at a rather low ebb, A. J. Leavett and David Allen, 
aided by the contributions of a few friends of the drama, 
inaugurated a place for dramatic representations, fitting 
up the large building in Green street, a few doors south of 
Beaver, for many years occupied* by Mr. John Van Gaas- 
beck as a carpet store, and Mr. Blair as an upholstering 
establishment. It was converted into a theatre under the 
immediate direction of Dr. J. Monroe, a theatrical archi- 
tect, and fitted up in a really elegant and commodious 
style. It had two tiers of boxes, several private boxes and 
a parqnette. It opened under the title of the " Gayety 
Theatre," with a small dramatic company, under very 
favorable auspices. The liberal patronage of the public 
soon enabled the management to increase their company, 
until it became quite formidable in numbers as well as in 
character and histrionic talent. Mr. Spackman, a talented 
and versatile actor, who afterwards became stage manager 
of J. M. Trimble's Academy of Music, J. W. Albaugh, 



70 Theatkical Reminiscences. 

Charley Kane, David Allen and Mrs. Allen, constituted 
a portion of the company. Dramas of the first order, and 
even scenic pieces of quite an imposing character, were 
produced and represented in a style of excellence that 
would reflect no little credit to establishments of larger 
dimensions and assuming higher claims to public recog- 
nition. 

Many of the eminent stars in the dramatic firmament 
appeared in regular and rapid succession at the Gayety. 
Mr. Castle, the celebrated tenor vocalist, made his first ap- 
pearance in Albany in a professional capacity at this thea- 
tre, in conjunction with a Miss Miller, a beautiful blonde 
and a fine vocalist; Peter Richings, and his accomplished 
daugher Caroline, completed two extended and highly re- 
munerative engagements here, and rendered English opera 
with full and artistic companies, and with great success. 

Eddy played the first star engagement, Chanfrau, J. E. 
Murdock, Sothern, Julia Dean Hayne, Ada Isaacs Menkin, 
Mrs. "Waller, Miss Kimberly, Eoberts, and J. Wilkes 
Booth, playing with Miss Henrietta Irving. 

The grand spectacular drama of " The Last Days of 
Pompeii," was brought out at this little theatre on a scale 
of magnificance, considering the limited capacity of the 
stage, that excited the astonishment of the entire play- 
going public. 

It was at the Gayety that J. Wilkes Booth, while enact- 
ing the role of Pascara, in the Apostate, met with quite a 
serious accident. In making " the fall " at the close of 
the play, his dagger accidentally penetrated the right arm 
pit, inflicting a severe wound some three inches in depth, 
from which the blood flowed profusely upon the stage. 
Dr. Crounse happened to be present in a private box, was 
called and dressed the wound, and Booth was moved to 
bis hotel. The wound did not prove sufficiently serious 
to prevent his appearance the second night after and he 



Theatrical Reminiscences. 71 

played the role of Richard III, doing the combat scene 
with his left arm, with all his usual tact and force. 

[Had the dagger then but entered the heart of Booth, 
what a terrible calamity might have been averted, and the 
martyred Lincoln might still have been living. As it is, 
the just doom of J. Wilkes Booth can be related without 
a sigh !] 

The Gayety, after having been run by various managers 
with good, and again with indifferent success, for quite a 
length of time, finally succumbed to the fate of many of 
its predecessors in Albany — went by the board. It was 
closed in 1861, and the building has since been re-con- 
verted into stores. 



CHAPTER XIV. 

EDWIN" EORREST, THE EMINENT TRAGEDIAN. 

Sketch of His Private and Professional Life, from His First 
Appearance on the Mimic Stage, to His Final Exit from 
the Shifting Scenes of Life — His Early Struggles — His 
Indomitable Energy, Perseverance and Courage, etc., etc. 

The death of this justly celebrated and unapproachable 
actor, has elicited so many exhaustive sketches of his pri- 
vate and professional life, that but a narrow margin re- 
mains for further comment or enlargement upon it, and 
renders it the work of supererogation to more than allude 
to a few prominent features of his private and professional 
character. 

Mr. Forrest was, for many years, acknowledged by emi- 
nent and experienced theatrical critics, as well as the play- 
going public, to be pre-eminently the finest actor that this 
or any other country ever produced. In a wide range of 
characters he stood without a rival ; nor can one person 
of note be called to mind who has been so uniformly and 
eminently successful. It mattered not in what part of the 
country he appeared, east, west, north or south, he seldom 
failed to be greeted by intelligent, fashionable, and over- 
flowing houses. Now and then he was more fiercely and 
often unjustly assailed than severely criticised, especially 
by individual presses ; but, after all, the popular verdict 
pronounced him " the noblest Bo man of them all." 

Edwin Forrest was born in the city of Philadelphia, 



Theatrical Keminiscences. 73 

March 9, 1806, and consequently was in the sixty-seventh 
year of his age at the time of his death, December 14, 
1872. His father was a Scotchman and his mother an 
American, and both were strong adherents to the Scotch 
Presbyterian church. Forrest's father was, for many years, 
an attache of the old United States Bank, in Philadelphia, 
and died in its service. Edwin was designed by his parents 
for the pulpit, a vocation for which he seemed fitted from 
the earnest attention that, when a mere boy, he paid to the 
sermons he heard, and the happy manner in which he re- 
cited from memory the long passages. But the death of 
his father, leaving a large family in embarrassing circum- 
stances, and the consequent necessity of immediate exer- 
tion, interrupted the education of young Forrest, and at 
ten years of age he was taken from school and compelled 
to enter as clerk in a large German importing house, but 
he remained but a short time in their employ, as he spent 
more of his time in " spouting theatricals," than in caring 
for the interests of his employers. 

The Forrest family consisted of six children — Lyman, 
Henrietta, William, Edwin, Edgar, and Caroline. Edgar, 
the youngest son, was supposed to have been* assassinated 
in South America many years ago. Lyman was a tanner 
and currier, and it was in his shop that Edwin gave, for 
the amusement of the workmen, his first dramatic 
recitation, standing on the stone table used for dressing 
leather. Edwin is next found on the boards of the old 
South Street Theatre, Philadelphia. He soon joined a 
Thespian Society, and at once became the " star " of the 
company. In 1817, he appeared at the Apollo Theatre as 
Lady Anna, in the tragedy of Douglas, his costume con- 
sisting of a thick pair of shoes, coarse woolen stockings, 
and a short white dress that reached to his knees only, and 
a red scarf wound around his head so as to form a turban. 
He next appeared at the Tivoli Gardens, in the summer 
of 1820, as Young Norval. His first appearance on a regu- 



74 Theatrical Reminiscences. 

lar stage was as Young Norval at the old "Walnut Street 
Theatre, then under the management of those eminent 
actors, Wood and Warren, (Warren being the father of 
William Warren, the celebrated comedian who was at one 
time attached to the Albany Museum dramatic company.) 
In "Wood's Recollections of the Stage," is related the sub- 
joined account of Forrest's appearance on the Walnut 
Street Theatre boards : 

" A very interesting event in theatricals took place last 
evening on the first appearance of a young man, Master 
Edwin Forrest. This youth, at sixteen years of age, was 
introduced to the management by Col. John Swift, as a 
person who was determined to be an actor, and had suc- 
ceeded in obtaining ' the slow leave ' of his family, who 
were, however, naturally enough opposed to their son 
adopting that profession. We have been so unfortunate 
in the numerous ' first appearances ' of late, that the 
young aspirant could hope for little encouragement of his 
wishes — the drooping state of theatricals furnishing an- 
other and stronger reason for such course. The usual 
arguments were strongly urged against embracing a pro- 
fession, at this time so especially unpromising. The toils, 
dangers, and sufferings of a young actor, were represented 
with honest earnestness, but, as was soon discovered, all in 
vain. Forrest was at this time a well grown young man, 
with a noble figure, unusually developed for his age, his 
features handsome, powerfully expressive, and of a deter- 
mination of purpose, which at once overruled all further 
objections on our part, and we finally very reluctantly 
yielded to his desires. He accordingly appeared at the 
Walnut Street Theatre, November 27, 1820, as Young 
Norval, in the tragedy of Douglas, with the following cast : 
Lord Randolph, Mr. Wheatley ; Glenalvin, Mr. Wood; 
Old Norval, Mr. Warren ; Lady Randolph, Mrs. Williams; 
Anna, Mrs. Jefferson — which was a powerful cast, render- 
ing Master Forrest admirable and really efficient support, 



Theatrical Eemtniscences. 75 

which gave him much more confidence, than had the cast 
of the play been made up of less acceptable material. So 
much disappointment had been experienced by the public 
at many late ' first' appearances, already alluded to, that 
no great excitement was perceptible on the above occasion. 
The novice, however, acquitted himself so well as to create 
a desire for a repetition of the play, which soon followed, 
and with increased approbation. Soon after Master For- 
rest added to his reputation by a very spirited effort in 
Frederick, in ' Lover's Vows.' These performances were 
considered by all the principal actors as far beyond any- 
thing they had ever witnessed from a novice. Still no 
great enthusiasm was evident in the public, and the re- 
ceipts at his benefit as Octavion in the ' Hunters of the 
Alps,' were even less than the former nights. They had 
been — Douglas, $319 ; Frederick, $255 ; Octavion, benefit, 
$215. 

" This cool reception in his native city, that might have 
discouraged a less ardent and confident mind, had no such 
effect on Forrest, who boldly reiterated his intention to 
adopt a theatrical life. The theatre at this time presented 
no vacancy worthy young Forrest's acceptance. Two cir- 
cumstances we must not forget to mention, largely con- 
tributed to the failure of his benefit — an uncommonly 
heavy snow storm, and the announcement of the eminent 
actor, Edmond Kean, for the following week — two greater 
drawbacks could not easily have happened. After a con- 
sultation with Master Forrest's friends, it was resolved 
that he should abandon the young Eocius' plan and take 
a range through the western theatres, for the purpose of 
passing a regular apprenticeship to his profession, and 
young Forrest left us with flattering auguries for the 
future." 

Forrest did "go west," (as the departed philosopher, 
Horace Greeley, advised so many young men to do.) making 
his first appearance at Cincinnati, Ohio, in the autumn of 



76 Theatrical Reminiscences. 

1822, as Malfort, in the "Soldier's Daughter," which was 
followed by Richard III, and other Shaksperian and Ro- 
man roles. An editor of a Cincinnati paper was called a 
lunatic for prophesying Forrest's future greatness. For- 
rest played Othello at Louisville, besides many other char- 
acters, for the first time, and with little knowledge of the 
text. It is also understood that at times his taste was for 
comedy, and he enacted various comedy characters with 
great eclat. Forrest, it would seem, did not appear again 
in his native city of Philadelphia until four years after he 
made his first debut at the Walnut Street Theatre, as 
Young Norval. On his return to Philadelphia, he was 
announced, says Wood. " from the Albany theatre, it being 
his first appearance in four years in Philadelphia, and to 
play Jafner in ' Venice Preserved,' in conjunction with 
Mr. C. Foster, as Piere." He subsequently appeared as 
Holla, and other prominent characters, much to the sur- 
prise of the public. Col. Forney, one of his early friends, 
writes of Forrest : " He was very fond of children and 
flowers, and had stores of poetry to make them happy ; 
and his description of the beautiful painting of the girls 
preparing to take a bath, in his fine collection, was itself 
a picture." 

Among many memoranda in my possession none are 
more useful than the " Forrest Souvenir " of Mr. Wm. D. 
Gemmill, of this city, which he has kindly allowed me to 
use. It is a collection of the portraits and photographs 
of Forrest from his youth, the bills of the plays in which 
he has acted for fifty years, criticisms of all kinds, anec- 
dotes, and a series of remarkable reminiscences of the 
great actor by the veteran Charles Durang, who died in 
Philadelphia, February 15, 1870, in his 76th year. He has 
annotated many pages, in his own handwriting, with inci- 
dents of Forrest. Here Ave have a playbill of the Walnut 
Street Theatre for February 2, 1822, announcing the cele- 
brated tragedy of " Mahomet, the Impostor," with Master 



Theatrical Reminiscences. 77 

Forrest as Zaphana. He was then just sixteen. He had 
first appeared at the same theatre in his fifteenth year, as 
Young Norval, to a house worth 8319. In Mr. GemmilFs 
collection we have the original cast of "Metamora" in 
New York, in 1830, and the playbill of the same produc- 
tion at Boston in the same year. This work was written 
for Forrest by the brilliant J. A. Stone. Forrest was then 
only twenty-four. In 1817, Mr. Durang tells us that as a 
mere boy, for lack of female performers, young Forrest 
played girls' characters frequently. He was then eleven 
years old. When at Louisville, in 1823, Forrest and James 
M. Scott, known as " Long Tom Coffiu," played a pair of 
dandies with great eclat ; and in a piece called the " Tailor 
in Distress," Forrest took a negro part " with so much 
African nature that he seemed the very incarnation of the 
race." The troupe with which Forrest was connected at 
this time had many a severe struggle, one of their houses 
only netting $7. In May of 1826, he came back from his 
wanderings, and flashed forth a star at the Chestnut Street 
Theatre, as Jaffier, in " Venice Preserved,' 1 for the benefit 
of Charles S. Porter, another honored Philadelphia name." 



CHAPTER XV. 

EDWIN" FORREST. 

His First Appearance on the Boards of the Old Pearl Street 
Theatre — He Supports the Great English Actors, Conway 
and Kean — His Great Success in the Role of Mark An- 
tony — His Unprecedentedly Rapid March to the Topmost 
Round on the Ladder to Dramatic Fame — Interesting 
, Sketch of his Inhaling Laughing Gas when a Boy — His 
Sudden and Final Exit from Life's Busy Stage! 

We have followed Edwin Forrest, in his earlier dramatic 
career, from the interesting event of his first appearance, 
when sixteen years of age, on the boards of an obscure 
thespian establishment in Philadelphia, to his departure 
from his native city as a poor, friendless young man, to 
the then new and sparsely settled Western States, to un- 
dertake a wider range of characters, and to serve a regular 
apprenticeship in the theatrical profession. 

The many vicissitudes incident to his life while a stroll- 
ing actor — how he was obliged to lash his scanty wardrobe 
upon his back and swim a river for lack of the trifling fee 
to pay the ferriage ; how compelled to feed upon the most 
common fare to keep body and soul together ; and of the 
many other privations which the young Eoscius endured, 
we will not attempt to sketch, as a full account of them is 
to be found in our " General Theatrical Reminiscences." 

AMUSING ANECDOTE OF FORREST. 

Before closing, however, we would add the following 
incident, giving further evidence of Forrest's privations 



Theatrical Reminiscences. 79 

during his wanderings in the west. He had taken lodg- 
ings at a low-priced lodging house, in a room containing 
two beds; the second bed being occupied by a person who 
was an entire stranger to him. At rather a late hour in 
the morning, Forrest, being tired of longer remaining in 
bed, cried out to his room-mate, " I say, stranger, don't 
you think it's time to get up — it's growing late?" 
" That's just what I was thinking about, and I was 
anxiously waiting for you to get up, as I have very strong 
reasons for not getting up first," replied the stranger. 
"Why, what are your reasons?" inquired Forrest. "To 
tell you the sober truth then, friend," was the reply, "I 
haven't got a shirt to my back, and was a little ashamed 
to expose myself ! " " Well, stranger, I must confess it's 
rather a queer coincidence," was Forrest's rejoinder, " I 
happen to be in a similar fix, as I haven't a shirt to my 
back either, and also felt ashamed to get up before you ! " 
The twain enjoyed a hearty laugh over their mutual 
dilemma, jumped up and donned their scanty wardrobes, 
shook hands and parted the best of friends, despite having 
met under those embarrassing and ludicrous circum- 
stances. 

In a previous chapter slight allusion has been made to 
Mr. Forrest's first appearance at the Pearl Street Theatre 
as a member of the stock company. A concise review of 
his eventful dramatic career, from the time he made his 
debut as a stock actor in Gilfert's company, to his final 
exit from life's busy stage, will not seem inappropriate 
here. Mr. Forrest made his debut at the old Pearl Street 
Theatre in the autumn of 1825, as Jaffier, in Venice Pre- 
served, having volunteered his services for the benefit of 
a member of the stock company. Soon after he joined 
the company as a regular stock actor, playing, on Septem- 
ber 30, 1825, Macduff to Conway's Macbeth. He also 
played Michael, to Conway's " Tell," in Sheridan Knowles' 
drama of "William Tell" that had just been introduced 



80 Theatrical Reminiscences. 

in this country. It was in the simple character of 
"Michael," the Swiss peasant, who so boldly confronts the 
minions of G-essler and indignantly refuses to bow to the 
tyrant's cap, that Forrest unconsciously startled his 
audience with the electric spark of his budding genius. 

Forrest seconded Conway through his entire engage- 
ment, and with marked ability. We well remember the 
night he enacted Mark Antony to Conway's Brutus, in 
the tragedy of Julius Csesar. The house was filled to its 
utmost limit with the wealth and aristocracy of Albany — 
the fashion patronizing theatricals, particularly the legiti- 
mate drama, well in those days. As few people had yet 
seen Forrest in his best roles, they had no true idea of 
his dramatic power, and were of course greatly surprised, 
nay, electrified, with his speech over the dead body of 
Caesar ; not having supposed the " vaulting young strip- 
ling" possessed so large amount of true dramatic talent- 
It was very apparent Conway was greatly chagrined, if 
not positively jealous, at the course things were taking. 
After Conway concluded his engagement at the South 
Pearl Street Theatre, Forrest assumed Conway's roles, 
rendering them, in many instances, with full as great eclat 
as had Conway, if one can judge from the warm encomiums 
of the press and the entire approval of the public. 

Forrest continued playing various tragic and melo- 
dramatic characters in an acceptable manner, adding fresh 
laurels to his dramatic wreath. During Edmund Kean's 
engagement at this theatre, he supported that distin- 
guished tragedian through all his difficult roles so excel- 
lently as to elicit the most unequivocal marks of appro- 
bation, and Kean warmly predicted the great dramatic 
future of the aspiring young actor. A warm friendship 
between Kean and Forrest existed from that time until 
Kean was called to his great final reckoning ! 

And now, as to Forrest's first successful step in his on- 
ward march to histrionic fame ; and how, and when, he 



Theatrical Reminiscences. 81 

became a star. On the night of the representation of 
Julius Caesar alluded to, Major M. M. Noah, editor of a 
leading New York journal, and conceded the finest theat- 
rical critic of the day in America,, was one of the audience. 
Mr. Noah was stopping at Congress Hall, near the Capitol, 
kept by Robert G. Cruttenden, (' old Crut/) and Gilfert was 
also boarding at Congress Hall. They met, and Mr. Noah 
describes the circumstances as follows : 

" Went to the theatre to see Julius Caesar. Forrest, a 
young man of nineteen or twenty, thick set, athletic, stiff, 
and with coarse but powerful yoice, played Mark Antony. 
Returning to Congress Hall, I found Gilfert rapidly eating 
his lunch of corned beef and horse-radish. We com- 
menced the following dialogue : ' Gilfert, who is that 
young man who played Mark Antony?' 'His name is 
Forrest/ ' Where from ? ' ' Philadelphia, I believe/ 
* What's his character ? ' ' Good/ ' Is he sober — steady ? ' 
'Yes/ 'Keeps good company?' 'Why, I believe so/ 
' Always perfect in his parts ? ' ' Always perfect/ ' How 
long have you engaged him?' 'For a year or two/ 
' What salary ? ' ' Very small/ 

" We paused while Gilfert got through his supper, and 
after a glass of brandy and water, he looked at us across 
the table, over his specs, in his peculiar way, and said : 

" ' Tell me, Noah, why you asked me those questions 
about that young man ? ' 

" ' Because, said I, he has all the material of a great actor, 
and if his habits are good, we would advise you to make a 
long engagement with him, and by all means increase his 
salary/ 

" Gilfert lighted his candle and went to bed. He sub- 
sequently told us that he had extended the time of his 
engagement with him, and when the Bowery Theatre first 
opened we all agreed to make Forrest a star, and his re- 
ception the first night set him afloat in the world on the 
voyage which has now brought him successfully into port." 
6 



82 Theatrical Beminiscences. 

Gilfert did " strike a bargain " with Forrest, and all who 
are at all posted in theatricals, or know anything of 
Edwin Forrest, know whether the predictions of Major 
Noah were true or false. Forrest, after going to the 
Bowery, at once "turned over a new leaf" in his habits, 
applied himself closely to study, but continued to play 
nightly at that theatre to crowded and enthusiastic 
audiences — in fact, carrying, as it were, the whole town 
"by storm." 

We well remember the circumstances of many of For- 
rest's old Albany friends and associates paying him a 
friendly visit, to tender him their hearty congratulations 
on his success. He informed them that he " owed them 
much for what they had done in his behalf, while 
struggling along up the dramatic ladder; that he was, 
and ever should be extremely gratified to meet them, but 
that he had now ' turned over a new leaf,' and that here- 
after his line of conduct must be directed in another 
channel — no more of the old-time convivialities — no more 
dissipation — no more frittering away of precious time. I 
now have absolute hard tvork to do, both mentally and 
physically." His friends, and they might be numbered as 
" legion," most heartily wishing him success, listened to 
the declarations regarding his future course with delight, 
and finally bid him an affectionate adieu, with " God bless 
you, Ned." 

In 1826, fortune began to favor him, and in July of 
that year he made his first appearance as a " star," at the 
Chestnut Street Theatre in Philadelphia, in the character 
of Othello. From that onward his career was a success. 
In 1836 he went to England, and in October of that year 
first appeared on the London stage at Drury Lane, as 
Spartacus. During this visit he was married to Miss 
Catharine Sinclair, who, divorced from him at her own 
request many years ago, has since resided in New York 
and on Staten Island. On the return of Mr. Forrest from 



Theatrical Kemisisckncks. 83 

Enplau 1. m 1837, he entered into an engagement at the 
Park Theatre, where he received an enthusiastic welcome — 
the receipts for the first three nights of his performances 
amounting to $4,200. In 1845, after continued and 'suc- 
cessful engagements in this country, he visited England 
Again, and appeared at the Princess' Theatre in London as 
Macbeth. Having been hissed on his re-appearance, he 
ascribed that indignity to the intrigues of Mr. Macready, 
And the ill-feeling thus engendered between the eminent 
tragedians continued without abatement until it culmi- 
nated in the outrageous attack upon Mr. Macready on his 
appearance in New York, at the Astor Place Opera House, 
>n May, 1849. Forrest's first appearance in New York 
after his divorce took place at the Broadway Theatre, in 
February, 1852, when he played Damon — the engagement 
tasting for sixty-one nights. He afterward made a pro- 
fessional tour of the United States, playing a round of 
Shaksperian characters. In 1855, announcing his in- 
tention to retire into private life, he purchased an elegant 
mansion on Broad street, Philadelphia, and did not again 
appear on the stage till the season of 1860-61, when tempt- 
ing offers were made to him by Mr. James M. Nixon, which 
were accepted. He continued to appear at intervals until 
1866, when he made his first appearance in San Francisco 
in the character of Richelieu. During the past five or 
six years he has taken frequent " farewells " of the stage, 
only to be re-enticed by profitable opportunities, and at 
the solicitation of his friends. 

Mr. Forrest's last appearance in public was as a reader, 
at Stein way Hall, a short time previous to his death ; and 
even at those readings he seemed to be in comparatively 
full vigor, and to retain all his attractiveness of elocution 
and action. 

It is a somewhat singular coincidence that Mr. Forrest 
commenced his real dramatic career at the Albany Pearl 
Street Theatre, and made his last appearance in a regular 



84 Theatrical Eeminiscences. 

theatre on the precise spot (though on different boards, 
the Trimble Opera House,) upon which he had appeared 
forty-seven years before. 

FORREST INHALIHG LAUGHING GAS. 

Frequent allusions have been made to the circumstance 
of Forrest inhaling exhilirating, or laughing gas. On his 
return from England after his unprecedentedly successful 
engagement in London, Forrest's friends, as well as the 
friends of the drama, in Philadelphia, desirous of evincing 
their admiration of his talents and respect for his charac- 
ter, invited him to a public entertainment. Over 200 
distinguished citizens being present, among the number 
Nicholas Biddle — " old Nick," as he was familiarly called — 
of the old U. S. Bank memory — assisted by the venerable 
Mayor Swift, and the large-hearted Col. James Page — two 
gentlemen whom our Burgess' Corps, and Firemen, will 
ever have occasion to remember with the liveliest emotions 
of gratitude and pleasure. Forrest was, of course, called 
upon for a speech ; and he responded in a truly eloquent 
and feeling manner, giving an account of his reception 
and success in London. Among other matters, he gave 
the following particulars of his inhaling exhilirating or 
laughing gas, when a poor and unfriended boy: 

"A crowd was gathered one evening in the Tivoli 
Garden to behold the curious varieties of delirium men 
exhibit on inhaling nitrous oxide gas. Several years had 
then elapsed since the great chemist of England had made 
known the singular properties of exhilirating gas. Strange 
antics performed under its influence by distinguished 
philosophers, poets and statesmen of Europe, were then on 
record, but it was yet a novelty with us, and so the public 
experiments drew throngs to witness them. Among those 
to whom the intoxicating agent was administered on the 
occasion referred to, there chanced to be a little unfriended 



Theatrical Reminiscences. 85 

boy, who, in the instant ecstacy which the subtle fluid in- 
spired, threw himself into a tragic attitude and commenced 
declaiming the following passage in one of Shakspeare's 
plays : ' What, ho ! young Richmond, ho ! 'tis Richard 
calls — I hate thee Harry, for thy blood of Lancaster ! ' 
But the effect of the serial draught was brief as it was sud- 
den and irresistible. The boy, awakening as from a dream, 
was surprised to find himself the centre of attraction — 
' the observed of all observers.' Abashed at his novel and 
awkward position, he shrank timidly from the glances of 
the spectators, and would have stolen in haste away, but 
a stranger stepped from the crowd and taking him kindly 
by the hand, pronounced words which thrilled through 
him with a spell-like influence. 

" ' This lad,' said the stranger, l has the germ of a tragic 
greatness in him. The exhilirating gas has given him no 
new power. It has only revealed one which lay dormant 
in him before. It needs only to be cherished and culti- 
vated to bring forth goodly fruit.' Gentlemen, the present 
Chief Magistrate of your city was that benevolent stranger, 
and your guest was that unfriended boy. If the prophesy 
has, in any degree, been fulfiled — if, since that time, I 
have attained some eminence in my profession, let my full 
heart acknowledge that the inspiriting prediction, followed, 
as it was, with repeated and considerate kindness, exer- 
cised the happiest influence on the result. It was a word 
in season. It was a kindly greeting, calculated to arouse 
all the energies of my nature, and direct them to a par- 
ticular aim. Prophesy oftentimes shapes the event which 
it seems only to foretell. One shout of friendly confidence 
at the beginning of the race may nerve the runner with 
strength to win the goal! Happy is he, who, on accom- 
plishing this round, is received with generous welcome by 
the same friends that cheered him at the start. Among 
such friends I stand. You listened with inspiring praise 
and augury to the immature efforts of the boy, and you 



86 Theatrical Eeminiscences. 

now honor him with this proud token of your approba- 
tion — the achievements of the man. You nurtured me in 
the bud, early blossom of my life, and labored to make me 
full of growing. If you have succeeded the honor is your 
own." 



CHAPTER XVI. 

EDWI^ FOKKEST. 

His Generous Donation to the Young Men's Association — His 
Letter to the President of the Association — The Presi- 
dent's Reply — What was said of Mr. Forrest by the 
Writer at the time the Donation was made — Tribute to 
Mr. Forrest by his early friend. James Hunter. Esq. — 
Forrest attends Hunter's Funeral as Chief Mourner, etc. 

Many years ago the writer prepared the following brief 
sketch of Edwin Forrest, in connection with the Young 
Men's Association of the city of Albany. It was written 
about seven years after Mr. Forrest's appearance as a stock 
actor in the Gilfert Dramatic Company, attached to the 
old Pearl Street Theatre, and during the herculean strug- 
gles through which his indomitable energy and persever- 
ance enabled him in a so incredibly brief period to attain 
to the height of dramatic fame he for so many years 
proudly and incontestably occupied. In the earlier period 
of his histrionic career, and even for some time after he 
had become famous as a leading actor, Mr. Forrest's finan- 
cial position scarcely warranted or justified him in making 
large beneficence. The don Q Mon he so generously and 
spontaneously made to the Young Men's Association, at 
a time, too, when that association was in its infancy, and 
struggling for an honorable position among the literary 
institutions of our country, was, therefore, hardly given 
from an overflowing exchequer. 



88 Theatrical Reminiscences. 

Innumerable instances could be adduced to prove the 
noble and generous impulses of Mr. Forrest's great heart 
to the day of his death. His last and crowning act of 
munificence was the appropriation of a large amount of 
money for the establishment of the "Edwin Forrest 
Home," for members of the dramatic profession, that he 
so dearly loved and honored, when age and disease shall 
have rendered them incapable of longer pursuing it. 
Who, even among those who have been classed as his un- 
compromising enemies, would be so uncharitable as to 
assert that Edwin Forrest was a selfish, mercenary man. 
Mr. Forrest was but human, and his many generous acts, 
his upright conduct through life, his fair dealings with 
his fellow-men, will avail his plea " when mercy tempers 
justice." 

It is thirty years since we wrote : " We invariably speak 
of this distinguished individual with the most exalted 
emotions of pleasure. His brief dramatic history of only 
a few years is one altogether unprecedented in the histri- 
onic annals of this country — perhaps the world. His 
short and brilliant career has already thrown around him 
the gratitude and affection of every American heart. In 
this extremely brief period of time he arose from obscurity 
to an enviable fame. He has been successful beyond all 
expectation in elevating and planting on a firm basis the 
tragic muse of our country ; he has taught us that our 
wandering to foreign climes for histrionic sources was en- 
tirely unnecessary — that at home, in our very midst, the 
subject, the author, and the actor were at hand ; for 
no one exercising even a spark of dramatic taste, but must 
acknowledge his Metamora an excellent specimen of the 
American Aborigines. And what characters so interesting 
to us as those who inherited from the God of Nature, the 
soil upon which our footsteps are now implanted f 

" But it is not of Mr. Forrest as a tragedian or a profes- 
sional man that we alone would speak. It is also for the 



Theatrical Kemtxiscences. 89 

purpose of showing his heart, in all its varied aspects, to 
the world. His generous, liberal hand is always stretched 
forth in administering its noble charities. In our city, 
where the buds of his towering genius were first devel- 
oped, cherished and rewarded ; here, where the little rivu- 
let that has now grown to his present exalted ability, first 
gushed from the fountain of his hidden faculties ; here, 
we say, we have abundant evidence of his nobleness, of 
soul. 

" As an American citizen, he is an honorable example ; 
for he has contributed more to encourage American talent 
than any other of our native citizens, with their millions 
at command. It is the utmost pride of his heart that 
literature, the essential attribute of human happiness, 
should be encouraged. His liberal donation to the Young 
Men's Association is an act of generosity, which every 
member — yes, every Albanian — should bear in lasting and 
perpetual remembrance. We have great pleasure in being- 
able to lay before our readers Mr. Forrest's admirable letter 
enclosing his handsome donation to the Young Men's 
Association, a copy having been kindly furnished us by 
the Executive Committee of the Association: 

mr. foreest's letter to the young mens' association. 

" ' Sir — The laudable and successful zeal you have re- 
cently evinced in the purpose of forming an association 
for mutual improvement of young men of Albany, with- 
out regard to individual condition, is alike creditable to 
the heads that projected, as to the hearts that resolved it 
In a country like ours, where all men are ' free and equal; 
no aristocracy should be tolerated, save only the aristocracy 
of superior mind, before which none need be ashamed to 
bow. Young men of all occupations will now have a 
place, stored with useful knowledge, where, at their leisure, 
they may assemble for mutual instruction, and the free 
interchange of sentiment. A taste for American letters 



90 Theatrical Eeminiscences. 

should be carefully and sedulously disseminated among 
them, and the false and parasitical opinion cannot too 
soon explode, which teaches ' nothing can be so good as 
that which emanates from abroad? Our literature should 
be independent; and with a hearty wish that the iron fet- 
ters of prejudice which surround it may soon be broken, 
I herein enclose the sum of one hundred dollars, to be 
appropriated solely to the purchase of books purely 
American, and to be placed in the library for the use of 
the young men of Albany. 

" ' Yours, with much respect, 

"'EDWIN FORREST. 
"'Henry Hart, Esq., Albany, 8th January, 1834.'" 

REPLY TO MR. FORREST'S LETTER. 

" ' Executive Committee Kooms, r 
" 'Albany, Jan. 9, 1834. 5 

" ' Edwin Forrest, Esq. :— 

"' Dear Sir — Your communication of the 8th inst. has 
been placed before the Executive Committee of the Young 
Men's Association, and they, on behalf of the Association, 
have instructed me to tender you their sincere thanks for 
your liberal and generous donation; the committee take 
a pride and a pleasure in responding to sentiments from 
which they cannot withhold their unqualified concurrence. 
In the unrestricted admission of all classes and orders to 
the high privileges of the Association, they did anticipate, 
as a resulting consequence, the formation of the aristo- 
cracy of which you speak, 'before which none need be 
ashamed to bow.' While, therefore, enacting those gen- 
eral principles, they exclude nothing good. Whether it 
emanates from home or abroad, they will cheerfully em- 
ploy the means you have so generously afforded in pos- 
sessing themselves of the works of those authors who 
have mainly contributed to extend the American name 
and influence through the entire empire of reason. 



Theatkical Eeminiscences. 91 

" ' The committee propose, sir, to expend your donation 
in the purchase of books containing our political history 
which, unlike that of most other nations, is made up of 
the opinions and acts of a people, and not of a court. 
Our national existence was the commencement of a new 
era in the political history of our world. In the com- 
mencement and continuance of that existence three things 
are to be regarded — the reason, the act, and the conse- 
quence. The first is found in the recorded wisdom of 
Washington, Jefferson, Adams, Madison, Hamilton, Jay, 
Franklin, and a host of other worthies who shed the bril- 
liant light of the most gifted order of intellect around the 
incipient struggles of an infant nation. The second in 
the firm resolves of our first councils, and the eloquent 
voice of our early battle-fields ! The third, in the many 
interesting events of our present prosperity. 

" i In the first, we meet with the most splendid triumph, 
not of American, but of human reason. In the second, 
with the first instance on the records of our race in which 
the propensities of our nature have accomplished their 
ends in complete subserviency to the high sentiments and 
intellectual powers. In the third, we recognize the high 
harmony of things, as evidenced in the interesting general 
fact, that the consequences have been, and are now actu- 
ally being, precisely such as are a priori reason would 
have deduced from such acts, grounded upon such reasons. 
These constitute an entire whole, and the books from 
which that whole is derivable must necessarily be * books 
purely American! We shall preserve and regard them 
as the monuments of your munificience. Accept for your- 
self our best assurances, and believe us, with sentiments 
of esteem, respectfully yours, the Executive Committee on 
behalf of the Association, by 

"'AMOS DEAN, President?" 



92 Theatrical Reminiscences. 

a tribute to forrest from james hunter, esq. 

At Mr. Forrest's farewell benefit at the old Pearl Street 
Theatre, previous to his first visit to Europe, the late 
James Hunter, Esq., editor of the old Daily Advertiser, 
and afterward of the Albany Daily News, an experienced 
theatrical critic, and an early friend of Mr. Forrest, paid 
him the following tribute. Mr. Hunter had been the 
tutor, counselor, and one who probably exercised greater 
influence over the young tragedian's early dramatic course, 
and incipient steps and dramatic progress, than any other 
man in this country. Mr. Hunter was an excellent 
Shaksperian scholar, and strongly advised Mr. Forrest to 
perfect himself in Shaksperian plays. Forrest did not 
forget the many kindnesses of Mr. Hunter, and on receiv- 
ing, Avhile playing an engagement in a far distant part of 
the country, the sad tidings of his death, hastened with 
all possible speed to be present and pay the last tribute of 
respect to his old friend and benefactor, following his re- 
mains to their last resting place. The writer well remem- 
bers the circumstance of Forrest walking alone, with 
downcast mein, following immediately in rear of the 
hearse, as chief mourner. 

Mr. Hunter wrote : " This young man, who has given 
such lustre to the histrionic character* of America, and 
who has shown that this side of the Atlantic can produce 
talent at least equal to the trans-atlantic shores, takes his 
farewell benefit to-night. He plays in a piece written by 
an American — John Augustus Stone. 

" Albany was the first place which discovered and en- 
couraged Mr. Forrest's genius. Now, acknowledging 
their kindness by paying honor to them as citizens, and 
feeling gratitude towards them as his early and continued 
patrons, he makes his farewell thanks and his last bow 
previous to his sojourn in foreign lands. That the Alba- 



Theatrical Reminiscences. 93 

nians will in a mass, and with the utmost warmth, greet 
him to-night, there is no doubt. 

" Edwin Forrest, independent of his universally admitted 
abilities as an actor, is a man of the most amiable and 
virtuous character. He is, to speak all of him briefly, A 
good man. We know him well; we esteem him; we ad- 
mire him ; we love him ; and we never knew of an ac- 
quaintance of his who did not. 

"Pleasant breezes while going, and fast winds while 
returning, be your guerdon, and god be your guardian, 

OUR FRIEND ! " 



CHAPTER XVII. 

WHY MR. FORREST REMAINED SO LONG ON THE STAGE. 

Having been for many years intimately acquainted with 
Mr. Forrest, opportunities were afforded us of becoming- 
familiar with many features of his private life. To us he 
evinced but little reserve in speaking of his private rela- 
tions. Our last interview was had at the Metropolitan 
Hotel in New York. Among the various topics dwelt 
upon was the cause of his remaining so long on the stage, 
and which had been for many years a mooted subject. We 
said, in the course of our Conversation, " Mr. Forrest, don't 
you think you ought to have retired from the stage when 
your 'brow was bound with fresh and victorious wreaths,' 
and before the 'sere and yellow leaf began to tell upon 
you ? " His prompt reply was, " Yes, I confess such would 
have been my true course, and I had fully determined to 
do so, in fact, did retire for a few years with a firm resolve 
never again to ' buckle on the armor theatrical ; ' but I 
found it impossible to leave the exciting, fascinating scenes 
in which, for nearly fifty years, I had been in the continu- 
ous habit of participating. Money, you must be aware, 
was not my object, having all that any reasonable man re- 
quired. It was excitement I needed to fill the vacuum in 
my life, occasioned by domestic troubles and other ' ills 
that flesh is heir to,' that were a constant source of annoy- 
ance to me ; so you will at once see why I have remained 



Theatrical Keminiscences. 95 

so long on the stage when I should have "been enjoying the 
fruits of so many long years of excitement and toil, in the 
peaceful walks of private life." 

Thus ends our imperfect sketch or review of the private 
and public life of the great departed actor, Edwin Forrest, 
" whose like we shall ne'er look upon again." If, as many 
may think, our picture is overdrawn or too highly col- 
ored, be it attributable to a warmth of friendship which 
has existed between us for so many years, as well as the 
high respect we have ever entertained for him as a man 
and as an actor. And now comes the last sad scene in his 
long and remarkable career. Edwin Forrest, who has so 
often played the mimic scene of death with such truthful- 
ness, to admiring throngs, has at last met the grim tyrant 
face to face, and to the inexorable mandate he was com- 
pelled to succumb ! " After life's fitful fever," the great 
actor's immortal spirit has winged its way to that "un- 
discovered country from whose bourne no traveler re- 
turns." Like the great Napoleon, 

" He's fought his last battle, 
Played his last role, 
No loud plaudits awake him, 
To glory aud fame ! " 

The noble form of Edwin Forrest sleeps with his ances- 
tors; his memory will long be cherished by thousands of 
the admirers of his towering genius. Forrest's dramatic 
mantle finds now no shoulders able to claim, and, above 
all, to WEAR it. 

What language so appropriate as the beautiful passage 
from Shakspeare's Hamlet, which the great actor was 
wont so often to repeat to admiring spectators : 

See, what a grace was seated on this brow ; 
Hyperion's curls ; the front of Jove himself; 
An eye like Mars, to threaten and command ; 
A station like the herald Mercury, 



96 Theatrical Reminiscences. 

New-lighted on a heaven-kissing; hill ; 
A combination and a form indeed, 
"Where every god did seem to set his seal, 
To give the world assurance of a man. 

Finale. — "Ring down the curtain, the great 
drama of life is o'er; the brightest star in all 
its glorious constellation, is forever blotted from 

THE DRAMATIC FIRMAMENT ! " 




Mrs. CATHARINE SINCLAIR, 

Divorced Wife of Edwin Forrest, in the character of "Lady Teazle." 



CHAPTER XVIII. 

MRS. CATHARINE SINCLAIR, THE DIVORCED WIFE OF 
EDWIN FORREST. 

Her First Appearance on the Stage After the Divorce — Her 
Personal Appearance — Her Many Accomplishments — Inter- 
esting Incident on Her Debut at the Albany Museum as 
Lady Teazle, in the "School for Scandal" — Her trium- 
phant reception after powerful efforts were made to pre- 
vent HER APPEARING, ETC., ETC. 

The troubles between Mr. Forrest and his wife have 
been already made sufficiently notorious. Suffice it to say 
then that Mrs. Sinclair was the successful party in the 
suit, and the decision of the court was that she receive a 
large alimony from the estate of Mr. Forrest, and that a 
decree of divorce be entered. Of the merits of the case 
Ave have nothing to say ; public sympathy, as a matter of 
course, was with the lady. But we must be permitted to 
express our belief that the full report of the case was of a 
most questionable propriety. It could not have but ex- 
erted a baneful influence upon society in general. During 
the progress of this case the New York papers were crowded 
with the evidence verbatim, of chambermaids and low- 
lived serving-men, whose veracity was questioned at every 
assertion, and the publication of whose evidence was a 
disgrace to any press. At the close of the case, some of 
the New York editors declared that the details of any 
similar trial should never appear in detail in their journals. 
The determination reflects credit upon their judgment, 
7 



98 Theateical Eeminiscences. 

for the columns of a high-toned paper should never be 
soiled by the detailed report of such trials. Soon after 
the close of this long case, Mrs. Sinclair declared that the 
money which the court had awarded to her from her hus- 
band's estate, should every cent of it be devoted to chari- 
table purposes, and resolved to resort to the theatrical pro- 
fession as a means of her own support. Her debut in New 
York was of the most flattering character, having the 
prestige of her name and the notoriety of the late trial, to 
aid her in drawing good houses. She opened at Brough- 
am's Theatre, New York, in the " School for Scandal," as 
Lady Teazle, following up her first appearance by running 
through with a role of characters — such as Julia in the 
" Hunchback," Pauline in the " Lady of Lyons." After 
playing out the term of her engagement in New York and 
reaping a very handsome pecuniary harvest, she filled an 
engagement in Philadelphia and again returned to New 
York, where she run through and played in her various 
roles for a second time, meeting with less success. She 
then appeared at Harry Meech's Museum in this city, as 
Lady Teazle, in the " School for Scandal." At that time 
the friends of Edwin Forrest in Albany — they were very 
numerous — on learning that his divorced wife was to ap- 
pear, determined to prevent it, and claimed to have made 
arrangements to " hiss her down." Between the friends 
of Mr. and Mrs. Forrest, there was no little excitement. 
Seeing the course matters were taking, and desiring the 
lady should have at least a hearing, the writer, one of Ed- 
win Forrest's earliest friends, being at the time connected 
with a daily paper, penned the following article, which 
appeared on the date she was to appear : 



Theatrical Reminiscences. 99 

mrs. forrest at the museum. 

"This lady, the divorced wife of Edwin Forrest, will 
make her first appearance in this city this evening, in the 
role of Lady Teazle, in ' School for Scandal/ As there 
appears to be a disposition on the part of Mr. Forrest's 
friends to prevent her appearing, we do most sincerely 
trust they may be induced to entertain a ' second sober 
thought,' and at once abandon the idea. In the first place, 
they should consider that there are two sides to the ' vexed 
question' of divorce, — secondly, she is a woman — alone 
woman — a stranger in a strange land, and without pro- 
tection — reason sufficient in all conscience to enlist the 
warmest sympathies of our nature. Do not, then, friends, 
condemn before the verdict is rendered — grant the lady a 
moiety of charity, seasoned with a goodly share of the 
' milk of human kindness.' " 

This simple appeal had a most happy effect — the oil 
thus administered in a homoeopathic dose at once calmed 
the troubled waters, and all things went on as merry as a 
marriage bell. The large auditorium of the Museum was 
literally crowded by the most respectable class of our citi- 
zens, and the lady was received with enthusiastic applause, 
in which the few impotent hisses were completely drowned. 
After the curtain had been rung down, at the " finale," 
she was vociferously called before the foot-lights, and re- 
turned her earnest and heartfelt thanks for this cordial 
reception in a most feeling and appropriate little speech. 
She played the remainder of her engagement with very 
fair success. 

Mrs. Forrest was at the time stopping at the old City 
Hotel in Broadway, on the site of Messrs. S. H. Ransom. 
& Oo.'s iron building, and on the following morning after 
her appearance at the Museum, we were the recipient of a 
very polite note, thanking us in the sincerity of her heart 
for this disinterested intercession in her behalf — with a 



100 Theatrical Reminiscences. 

polite invitation to call upon her. Availing ourself of the 
invitation, we called, and must confess we never met a 
more highly accomplished woman. Mrs. Forrest has 
many admirable qualities, is fine figure, quite English in 
style, and very naturally, as she was born in London ; her 
complexion a rich blonde, with a face at once handsome 
and prepossessing, and features sufficiently marked and 
prominent for eifect. In private her style and manner 
are highly attractive, dignified and lady-like. 

Mrs. Sinclair is the daughter of Mr. Sinclair, the emi- 
nent artist, who made a reputation in New York when the 
Opera of Cinderilla was first introduced in this country, 
doing the role of the " Prince." His daughter inherited 
her father's musical taste in a most remarkable degree- 
besides she spoke several languages with fluency. 

Mrs. Sinclair, attired in deep mourning, attended Mr. 
Forrest's funeral, sitting in the large parlor facing Broad 
street, her head resting upon her hand, her fingers work- 
ing nervously. After remaining in this position a short 
time, she arose, hesitatingly approached the coffin, and 
drawing her veil aside, placed her hand upon the cold fore- 
head of the dead, passing it gently down to the hand 
which she held firmly for several minutes. What were 
Mrs. Sinclair's feelings on that sorrowful occasion, may 
be better imagined than described. If the fountains of 
her heart had gushed forth, as they no doubt were inclined 
to do, those " tell tales," the pearly tears, would have be- 
dewed her pale cheeks. As she was about to leave the 
coffin, she culled a few choice flowers from the abundance 
that were strewn around and upon the remains, and re- 
turning to her seat remained until the corpse was removed 
to its final resting place ! 

" The might of the strength that dwells apart, 
In the deep, deep cells of a woman's heart. 
Little we know it, and man may deem 



Theatrical Reminiscences. 101 

It is but the tale of an idle dream ; 
But there are springs which never dry, 
But flow on in silence exhaustlessly." 

Mrs. Sinclair is at present residing with her youngest 
married sister at the quiet little village of Stapleton, Staten 
Island. It is understood that Mrs. Sinclair has commenced 
legal proceedings for the possession of her thirds of the 
real estate of her late husband, and we trust she may suc- 
ceed in proving her claim to it to be legal and just. 



CHAPTER XIX. 

JUNIUS BKUTUS BOOTH. 

His First Appearance, as a Novice — His Rapid Advance in 
the Profession — His First Yisit to America — He turns 
Farmer — Is his own Marketman — How he Sold his Farmer 
Companions in Playing Richard — His Mad Freaks with 
Charles H. Eaton — His Death in 1852, on his Passage 
from Xkw Orleans. 

This world-renowned, incomparable actor, was born 
May 1, 1796, in a small town a snort distance from Lon- 
don. He was the son of a barrister, who intended him 
also for the legal profession, and placed him at Eaton. 
Mr. Booth was a perfect linguist, speaking fluently French, 
German, Spanish and Italian, he accomplishing what no 
English actor ever did, by playing Shakspeare in French, 
and with entire satisfaction, before a crowded and exacting 
French audience. He entered the navy as a midshipman, 
but left, and assumed the fine arts — painting, drawing and 
sculpture ; he also became quite conversant in Blackstone. 
His first appearance was in a Thespian Society, in the 
comedy of "John Bull," and soon after joined a strolling 
dramatic company, making his debut, 1813, as Campillo, 
in the " Honeymoon." His first appearance was at Covent 
Garden Theatre, the same year, as Silvia, in " As You 
Like It," and in 1821 he came to America, appearing as 
Eichard at Eichmond, Virginia; afterwards at the Park 
Theatre, New York, and Chestnut Street Theatre, Phila- 
delphia, the most flattering success awarding his efforts. 



Theatrical Reminiscences. 103 

He purchased a farm in 1822 at Bel- Air, Maryland, near 
Baltimore, being his own marketman, bringing in the 
products of his farm, such as hay, butter, fruits, &c. 
Booth would play an engagement at a Baltimore theatre, 
coming to towu in the morning with his produce, dressed in 
his tow frock, coarse straw hat, and cowhide boots, and 
after disposing of his commodities, go to the theatre, ap- 
pear in one of his great characters, and return to his home 
in the evening, after the performance, and go through the 
same routine during his engagement. The following an- 
ecdote is related of this extraordinary man : One evening 
when he was to appear in Richard, after he had marketed 
off his produce, he went to the hotel, the resort of the 
farmers generally, but with whom Booth had formed little 
if any acquaintance, he residing in a different part of the 
country from them. An hour or two before the perform- 
ance commenced, a suggestion was made by one of the 
farmers that they all go and see Booth play Richard, as 
they had never seen him. Booth was asked if he had ever 
seen Booth play. He replied that he " had seen him many 
times, but that he guessed he'd drop in and see him once 
more in his favorite character of Richard." So, on the 
arrival of the time for the performance to commence, the 
entire party, including Booth, started for the theatre, and 
while the tickets were being procured Booth slipped 
around to the private entrance to the theatre, entered his 
room and hastily dressed for Richard, and being the first 
character to enter after the curtain rang up, commenced 
the celebrated soliloquy in Richard, " Now is the winter 
of our discontent," &c. Booth appeared to be in his best 
mood, intending, no doubt, to " astonish the natives " — 
his brother farmers — throwing additional spirit into the 
character, and which very evidently did have the desired 
effect, by setting them completely agog, especially his ter- 
rific combat and dymg scene. 

The theatre being out, the party, excepting Booth, re- 



104 Theatrical Reminiscences. 

turned to their hotel, soon after which the great actor, 
attired in his home-spun toggery, stepped up to the bar, 
took his mug of mulled cider, paid his bill, and, while his 
team was being hitched up, was asked by one of the party, 
"How did you like Booth, friend?" "0, pretty well; 
but /think /have played it better" — jumped into his 
wagon and drove off. The farmer responded with a loud 
voice: " You play it better? well, come now, ain't that a 
good joke ? " — and they all ha-haed out at the top of their 
voices. The surprise of the unsophisticated party can be 
better imagined than described, when informed by the 
landlord that the individual with whom they had been 
talking was none other than the celebrated actor, Booth ! 

Booth resided on his farm in quiet, surrounded by all 
the comforts of domestic life, scrupulously avoiding all 
show or notoriety, and living in the most frugal and sim- 
ple manner. In 1825 he visited England, appearing at 
Drury Lane as Brutus. In 1835 he again visited England, 
and his last appearance on any stage was at the St. Charles 
Theatre, New Orleans, appearing as Sir Edward Mortimer 
and John Lump, in the " Wags of Windsor." During his 
sojourn in New Orleans he contracted a severe cold, and, 
taking passage on a steamer for Cincinnati, died Novem- 
ber 19, 1852, of consumption of the bowels. 

It is extremely doubtful whether, that as an actor, his 
equal has ever been seen. His talent was truly won- 
derful, often playing such arduous roles as Richard, 
Brutus, and Giles Overreach. He would appear in a 
farce, doing Jerry Sneak, John Lump, and other low com- 
edy parts, with little apparent exhaustion, and in the most 
acceptable manner. His voice was singularly flexible and 
•melodious, full, clear, and susceptible of exquisite pathos; 
his countenance was exceedingly handsome and expressive 
before his nose was broken by Tom Flynn, with a pair of 
tongs, in defending himself against one of Booth's *' mad 
freaks;" his eye, the mirror of the soul, was a dark blue, 



Theatrical Reminiscences. 105 

beaming with intelligence and fire. In depicting the pas- 
sions of hate, terror, revenge, scorn, despair, he was par- 
ticularly successful, and, at times, truly terrific — but in 
the milder passions he was not so successful. 

That Junius Brutus Booth was one of the greatest actors 
who ever lived, there can be little question. He was gen- 
erally and naturally exceedingly mild and gentle. In his 
family, it is said he prohibited the use of animal food; an 
animal life was ever sacred on his farm, and the very trees, 
too, were held sacred, as they were never allowed to be 
felled by the axe. All forms of religion and temples of 
worship, were to him sacred ; and passing places of divine 
worship it is said he never failed to reverently bow his 
head. 

That Edwin Booth, the son of the elder Booth, is a very 
chaste and impressive actor, few will gainsay; but that he 
is to be compared with his father in force and positive 
electric effect, none who have witnessed the elder Booth's 
impersonations will attempt to assert. John Wilkes, prob- 
ably, approached more nearly his father in the portrayal 
of the stormy passions, than does either Edwin or his 
brother J. Brutus Booth. 

In other parts of this work the reader will find several 
very amusing anecdotes connected with Booth's dramatic 
career. 

ONE OF BOOTH'S MELANCHOLY PAROXYSMS. 

As almost anything relating to this great actor is always 
interesting to old play -goers who have witnessed, his un- 
surpassed delineations of character in his palmy days, we 
give the following letter, written by Charles EL Eaton, or 
as he was usually called, " Charley Eaton," to a friend in 
Boston, while he (Eaton) was playing an engagement at 
the Pearl Street Theatre in Albany, in 1838, doing second 
to Edwin Forrest. Charley was really a splendid young 



106 Theatrical Keminiscences. 

actor, an Adonis in his personal appearance, whom Forrest 
declared "was bound to make a distinguished mark in his 
profession." In his account of this very thrilling affair, 
Mr. Eaton goes on to say: 

" Since we parted I have been " strutting my brief hour " 
upon the boards of the Olympic, Bowery and Franklin, 
New York, and upon the Pearl street boards, Albany. I 
have just heard of Booth's attack upon poor Tom Flynn, 
at Charleston, and absolutely shudder, as it recalls to 
memory the opportunity he had about three years ago to 
make me participate in a real tragedy. We were playing 
an engagement together at the same theatre at Baltimore, 
and reversed Pierre and Jaffier, in Venice Preserved, 
Othello and Iago, and on the second night he played Othello 
(a part he seldom personates) to my Iago. After rehear- 
sal, he came to my lodgings and requested me to go 
through the part with him again. ' Iago/ said he, * you 
must do your d — d'st to-night, or I shall play you down/ 
There was a singularity in his manner which I had not 
observed before, and I must confess I felt considerable fear 
that he might fall into one of his ^melancholy paroxysms 
and do me great harm. We adjourned to an oyster room, 
and every time an oyster was opened he cried out 'mur- 
der/ in various tones, with apparent horror. Night came. 
He played Othello splendidly, and drew down thunders of 
applause. In the last act, after the death of * gentle Des- 
demona/ it seemed as if all h — was raging in his heart; 
his eyes displayed the fierceness of a tiger, and his thrust 
at me I really believe would have been fatal, had I not sud- 
denly stepped aside to avoid it. The audience were as 
hushed as death ; my heart beat audibty, and it was a min- 
ute or two before I could recover my self-possession. A 
short time afterwards I passed a few days beneath his hos- 
pitable roof, and was treated with great kindness by him 
and his amiable lady. One night I was awakened by a tre- 
mendous crash in the next room. I hurried on my dress- 



Theatrical Reminiscences. 107 

ing gown and ran in the entry to see what was the matter. 
It seems that Booth had wound a sheet around him, and 
with light in hand, had gone to his aged father's room ; 
but the old gentleman, who happened to be awake and 
heard him coming, had dashed the bowl and pitcher on the 
floor at his feet, as Booth entered, and effectually fright- 
ened him out of his mad freak. ' Ah, Junius, Junius/ said 
the venerable old man, i Will you never have done with 
these mad freaks !' Alas, for Booth ! alas for the prostra- 
tion of genius!" 
" So flourisheth and fadeth majestic man !" 
" Yours, truly, 

" C. H. EATON." 



CHAPTER XX. 

GUSTAVUS V. BKOOKE, THE EMIKE]STT IKISH TKAGEDIAX. 

His Remarkable Dramatic Career — His Rapid Progress up the 
Histrionic Ladder to Fame — His Extraordinary Abili- 
ties — His Successful Career in Europe and America — His 
Final and truly Melancholy Fate. 

Very many play-goers will no doubt remember this emi- 
nent actor, while playing at Harry Meech's Museum, 
where he was nightly greeted by large and fashionable au- 
diences, playing an unprecedentedly successful engagement 
of twelve consecutive nights. The always acceptable and 
exciting drama of the " Oorsican Brothers" was first 
played in this country by Brooke, meeting with marked 
success wherever produced. The subject of this sketch 
was born in Dublin, Ireland, in 1818, and was conse- 
quently, at the time he was in this country, about forty- 
two years of age. Mr. Brooke was educated at Trinity 
College, Dublin, and was intended for the Irish bar. It is 
somewhat curious to trace the dawn of that genius or tal- 
ent for which men are distinguished in after years. His 
introduction to the stage savors more of romance than 
reality. When scarcely sixteen years of age he chanced 
to visit one of the principal theatres of Dublin, the play 
producing a positive impression upon his mind, and he at 
once determined to be an actor. Accordingly, on the fol- 



Theatrical Keminiscences. 109 

lowing day, unknown to his family and friends, he called 
on the manager, and completely startled him by gravely 
requesting him to let him make his appearance on the 
stage of the Theatre Eoyal in " William Tell." Imagine 
a slender youth of sixteen calling on the great autocrat 
of the English Stage, and requesting to play "King 
John," and it may be imagined what must have been the 
astonishment of the Dublin manager. The English man- 
ager, observing the manly and gentlemanly bearing of the 
boy, received him with the utmost kindness, at the same 
time pointing out the impropriety of the course, as did 
the veteran manager of the Walnut Street Theatre, Phila- 
delphia, when Master Edwin Eorrest made application to 
appear upon the boards of that establishment. Master 
Brooke, like Master Forrest, could not be easily diverted 
from his histrionic ambition, and he finally persuaded the 
manager to hear him recite the celebrated passage in Wil- 
liam Tell, commencing, " Those crags and peaks ; what 
spired city would I take to live in, in exchange for my 
cottage," which was delivered with so much force and pro- 
priety of action, and elocution, that the manager could 
not refrain from expressing his approval. So ended 
Brooke's first interview with a manager of a theatre. A 
circumstance soon offered which gave the future great 
tragedian an opportunity of gratifying his ambition, and 
appearing on the stage. 

Edmund Kean had been announced to appear in Dub- 
lin, and much interest was of course excited amongst the 
play-goers of that gay city. Just as the time of Kean's 
appearance approached, the manager received a letter from 
London, intimating that Kean was " seriously ill," and 
could not possibly fulfil his engagement. The manager, 
knowing too well from experience the excitability of a 
Dublin audience, especially when disappointed, was at his 
wits' ends; but he suddenly bethought himself of his 



110 Theatrical Eeminiscences. 

young visitor, Brooke, and knowing that his good towns- 
men were easily pleased so long as they had novelty, no 
matter in what shape, he resolved to bring forward young 
Brooke as a " stop-gap." Accordingly, young Brooke was 
announced on the bills, and on Easter Tuesday, 1833, he 
made his first appearance on a public stage, in " William 
Tell." The performance had all the blemishes naturally 
to be expected in an untutored lad of fifteen, but evinced 
the possession of an histrionic genius of high promise. A 
very competent theatrical critic, shortly after this event, 
wrote of him thus: "Nature has done a great deal for 
young Brooke ; his heart is in his profession ; he has a 
very pregnant fancy; but of what he has acquired from 
art there is much to be unlearned as well as prosecuted; 
his career is of great promise, if he be not allowed or 
urged into a wrong path at first, which is too often apt to 
be the case in young men adopting the theatrical profes- 
sion." 

Now to return to his first appearance in Dublin. His 
effort in William Tell was so successful that he, in rapid 
succession, appeared in Virginias, Eolla, &c. Elated with 
his success, he visited Glasgow, Edinburgh, Belfast, Cork, 
Manchester, Liverpool, and most of the prominent theatres 
in the three kingdoms, in the course of which he imper- 
sonated most of the leading Shaksperian parts with great 
success. 

In his personal appearance Mr. Brooke was singularly 
prepossessing. To a tall, lithe and extremely graceful 
form, was added a face full of intelligence, and of a mar- 
velous capability of expressing varied and intense passion. 
His whole mein was grace and dignity; to these outAvard 
perfections there was the invaluable gift of a magnificent 
voice, from which the grand swelling periods of regal 
tragedy to the softest melody of the most melodious voice, 
was equally effective, grand and beautiful. 



Theatrical Reminiscences. Ill 

But he possessed the higher attribute still of a mind 
which could seize the conceptions of the great poet, and 
give them full and original development. Mr. Brooke, it 
is said to his credit, was no copyist, beyond the mere me- 
chanical conventionalisms of the stage. His rendering of 
the lofty and passionate role of Othello was as truly great 
and original, it will not be too much to say, as was the 
conception of the character by the poet himself. Com- 
parison will necessarily occur with the development of 
such a character by so great a genius as Kean and other 
eminent dramatic artists of the past; but the necessity for 
such comparison only strongly exhibits the power of the 
actor. Take him, therefore, " all in all," it cannot be gain- 
sayed that no foreign actor who has visited our shores, prob- 
ably since the days of the great George Frederick Cooke and 
Edmund Kean, could compare with G-ustavus V. Brooke. 
The theatrical profession he chose from a positive love 
for it, and from his earliest boyhood evinced a desire of 
fitting himself for the stage. 

Four-fifths of the young men pursuing the histrionic 
profession would be far better and more worthily engaged 
in some mechanical employment more congenial with 
their tastes and capacities ; but neither Brooke nor Forrest 
were of this class — they were both natural actors. Brooke 
made his first appearance on the American stage Dec. 15, 
1851, at the Broadway Theatre, New York, as Othello. 
After performing in all the principal cities in this country, 
he returned to England, visiting Australia in 1860, and 
reappeared in London, after an absence of several years, 
at Drury Lane Theatre. 

Poor Brooke was lost on the ill-fated steamer London, 
bound to Australia, a truly thrilling account of which 
was published at the time of the disaster, and in which 
was also given the particulars of the courageous and noble 
conduct of Brooke in his endeavors to save the vessel, 



112 Theatrical Reminiscences. 

stripping to the buff, and working at the pumps, till sink- 
ing from exhaustion, went down with all her precious 
freight ! 

Brooke married Miss Ayoni Jones, the talented young 
American actress, daughter of Mrs. George Jones, once 
quite a distinguished tragedienne. 



CHAPTER XXI. 

WILLIAM WARREN", THE EMINENT ECCENTRIC AMERICAN" 
COMEDIAN. 

His First Appearance on the Stage in Philadelphia as Young 
Norval — His Eapid Eise in His Profession — His Immense 
Popularity — His Appearance at the Albany Museum — His 
Yisit to England — He Invests in Eeal Estate in Chicago, 
and Becomes Quite Wealthy — His Distinguishing Traits of 
Character, Private and Professional, etc., etc. 

It is deemed unnecessary to offer an apology in giving 
place to the following sketch of one so long and favorably 
known to the public, and especially to Albanians. The 
mention of the name of William Warren cannot fail to 
revive pleasant memories of other days, when he was at- 
tached to John B. Eice's dramatic company at the Albany 
Museum. There are scores of old play-goers who will 
readilv recall the many delightful hours passed in witness- 
ing the incomparable impersonations of eccentric charac- 
ters by William Warren, and will unhesitatingly endorse 
the high and well deserved compliment accorded Mr. War- 
ren by a distinguished theatrical critic. 

His father, William Warren, a very popular performer, 
was born in Bath, England, and made his first appearance 
on the American stage at the Chestnut Street Theatre, 
Philadelphia, in 1796, as the Friar, in " Eomeo and Juliet." 
His performance of <•' Fal staff," was the most noted of his 
impersonations. For a number of years he was manager 
of the Chestnut Street Theatre, but retired from that posi- 
tion in 1829. His death occurred in 1832. His son, the 
8 



114 Theatrical Eeminiscences. 

subject of our sketch, was born in Philadelphia in 1817, 
and made his first appearance at the Arch Street Theatre, 
in that city, in 1832, as " Young Norval," the same part 
in which his father made his debut at the outset of his ca- 
reer. Mr. Warren rose rapidly in his profession as a come- 
dian. In 1841, he was introduced to a New York audi- 
ence as " Gregory Guzzle," in " My Young Wife and My 
Old Umbrella." In 1845, he visited England and played 
at the Strand Theatre, London. 

While Mr. Warren has less versatility than a few emi- 
nent low comedians we remember, as for instance, Finn 
and Burton, among the past, in a certain and by no means 
limited range of characters, Warren is unapproachable. 
We first saw him as Master Solomon in the " Stranger." 
It is not much of a partner se, but as he moulded and 
filled it, it assumed a prominence and importance, and was 
invested with a ludicrous richness of which we had never 
dreamed it capable. Most admirably, too, does he present 
the assinine gravity of Dogberry. Every blunder of that 
immortal functionary, every trait of his character, is admi- 
rably rendered. Mr. Warren is noted for his " textual " 
fidelity, following the advice that Hamlet gives to the play- 
ers, to " speak no more than is set down for them." He 
never laughs "to set on some quantity of barren ^specta- 
tors to laugh too," unless the stage direction authorizes it. 
There is indeed no occasion for it, for his dry humor, his 
expression, his " make up," are enough to set the house 
"in a roar" whenever he appears. AVarren is especially 
great in eccentric low comedy, particularly in those roles 
which have a dash of the lachrymose — as, for instance, 
" Billy Lackaday " in " Sweethearts and Wives." We have 
seen many representations of that unfortunate young 
"fondling" who was "'ung up at the sign of the 'og in 
armor," but never one whose ludicrous miseries so moved 
our risibles as Warren's. In the expression of his coun- 
tenance there is " a whole Iliad of comic woe." The hi- 



Theatrical Keminiscences. 115 

gubrious liero of " Wilful Murder," also received ample 
justice at his hands. It is in such characters, the eccen- 
trics, that Warren shines pre-eminently, though everything 
he does, he does well and acceptably. His mere appear- 
ance on the stage is always welcomed with hearty applause, 
and is the harbinger of general good humor among the 
audience. One of the principal annoyances to which a 
stock actor is subject, is the necessity of frequently filling 
uncongenial and indifferent parts. Mr. Warren has his 
share of these, but his rich native humor invests them 
with a charm that makes the worst of them succeed. 
His stage individuality is perfectly provocative of mirth, 
and finds no exception in this case. It is always War- 
ren — you cannot mistake the voice and the air — but we are 
quite content to ask for nothing better than Warren, and 
Matthews and Flinn could change their features and their 
voices ; Warren has not this Protean faculty. In this re- 
spect he is like Liston, but the London public never com- 
plained that Liston was not always the same. They could 
not see too much of him — neither can we see too much 
of Warren. Abernethy's prescription for many of the 
" ills that flesh is heir to," was " go and see Grimaldi ! " 
With equal confidence can we recommend " seeing War- 
ren," as the " sovereignist thing on earth " for the blues, 
for the spleen, for hypochondria, or any phase of low spir- 
its, mental discouragement, or ennui. Kimball might 
without the slightest risk of having to write a single or- 
der on his treasurer, safely make a standing offer of a 
high premium for every sour face in his auditorium 
while Warren is on the stage. An old play-goer, and given 
rather to internal merriment over what tickles our fancy, 
than to indulging in that boisterous demonstration of 
hilarity which is but as the "crackling thorns under the 
pot," we charge it upon William Warren that he has many 
a time and oft caused us to break forth in noisy guffaws, 
accompanied by tears of delight. If Mr. Warren played 



116 Theatrical Reminiscences. 

at the Boston Theatre he would infallibly ruin the stock- 
holders. In this wise : " to laugh and grow fat " are cause 
and effect. In a short time the habitues of the theatre 
-would become so corpulent that the iron-armed chairs 
could not contain them, and they would abandon the 
house from sheer necessity ! We have spoken of Mr. War- 
ren in his professional capacity ; let us add that in private 
life he is a gentlemanly, retiring man, of more than re- 
spectable scholastic attainments, and is held in high regard 
by those who are honored by his friendship and acquaint- 
ance. We have heard him spoken of by those in whom 
we place the utmost confidence in a manner of which any 
man might be justly proud. 

The last appearance of Mr. Warren in Albany, in a pro- 
fessional capacity, was at the Academy of Music, under 
the management of the late J. M. Trimble, being his first 
appearance here since he left the boards of Harry Meech's 
Museum. During the latter years of his life Mr. Warren 
inclined very much to obesity, in that respect resembling 
his father, who weighed considerably over two hundred 
pounds — so that in playing Falstaff, his favorite charac- 
ter, he had little necessity to '"pad" his person. Wil- 
liam, seven or eight years since, was very slim, but splen- 
didly and symmetrically formed. 

At the time Chicago began to assume importance as a 
city, by the advice of his brother-in-law, John B. Rice, 
the worthy ex-mayor of Chicago, who had become quite 
wealthy by the advance of property, Mr. Warren invested 
his surplus capital in real estate there, and it so rapidly 
increased in value as to render him quite wealthy. At 
last accounts Mr. Warren was in England. 



CHAPTER XXII. 

CHARLOTTE CUSHMAN, THE GREAT AMERICAN ACTRESS. 

She is of the Old Puritan Stock — Her Musical Education — 
James Maeder First Brings Her Out ps a Public Stage in 
the Opera of the "Marriage of Figaro"— She Goes to 
Kew Orleans, and Nearly Losing Her Yoice as a Singer, 
Decides to go on the Stage— Her Debut in New York — 
Also at the Pearl Street Theatre, Albany, in 1837 — Her 
Yisit to Europe — Her Success in that Country — She Per- 
forms, with Remarkable Success, for the Benefit of the 
Sanitary Committee, in 1863 — Large Receipts — Her Last 
Appearance in Albany, etc., etc. 

ISTo apology, we opine, need be offered for presenting 
the rather extended sketch of this estimable lady and fine 
artist. Her name and fame will long remain fresh in 
the memory of the American public, and particularly in 
that of Albany, where she has been so long and so favorably 
known. There can be very few of our older class of citizens 
but will remember the appearance of Miss Cushman at the 
celebrated Firemen's Ball, at the old Pearl Street Thea- 
tre — an account of which will be found in a previous chap- 
ter of this work — her majestic form, as she threaded the 
mazes of the dance, towering above her female compan- 
ions, and making her " observed of all observers." 

Charlotte Cushman was born of the old Puritan stock, in 
Boston, in 1814. Having an excellent voice, she resolved, 
after she left school, to make her appearance as a 
public singer. Having received thorough musical instruc- 



118 Theatrical Reminiscences. 

tions from the best masters, she made her first appearance 
in public, in 1830, at a society concert given in Boston. 
During the engagement in Boston of the celebrated vo- 
calist, Mrs. John Wood, Miss Cushman sang at one of her 
concerts; and Mrs. Wood was so pleased with her tine 
contralto voice, that she advised her to turn her atten- 
tion to singing on the stage. At the Tremont Theatre, 
Boston, in 1835, James Maeder, husband of Clara Fisher, 
brought Miss Cushman out as the Countess of Almavivi, 
in the " Marriage of Figaro." Shortly after this she went 
to New Orleans, having seriously impaired and nearly 
lost her voice, by trying to force it up to soprano ; this 
was the cause of •her adopting the stage. Soon she 
became one of the greatest actresses that ever graced 
the boards of any theatre in this country or in Eng- 
land, with, perhaps, the exception of the elder great 
Mrs. Siddons. Miss Cushman next appeared as Lady Mac- 
beth at the Bowery Theatre, New York, in 1836. From the 
Bowery she went to the Park Theatre, where she became 
a leading actress. In 1837 she appeared as Romeo, in the 
tragedy of " Romeo and Juliet," at the old South Pearl 
Street Theatre, Albany, meeting with a flattering recep- 
tion. She subsequently appeared as Count Belino, in the 
opera of the " Devil's Bridge " — a role in which Peter 
Richings made his debut at the Pearl Street Theatre, and 
continued through a long and protracted engagement 
of many months, to perform in opera, tragedy and comedy. 
At that time Miss Cushman generally assumed male char- 
acters — her stately form, rather masculine contour of 
countenance, and powerful voice, admirably adapting her 
to the line of male characters. They were invariably ren- 
dered most acceptably ; she also acquitted herself equally 
as well in female characters. 

After leaving Albany Miss Cushman visited Philadel- 
phia, making her first appearance as Lydia Languish, at 
Burton's National Theatre. Before her great talent was 



Theatrical Keminiscences. 119 

as fully recognized at home as it deserved to be, she visited 
England. There she found critics of the most experienced 
and exacting character, and they acknowledged her as one 
of the greatest artistes of the age. In 1845 she appeared 
at the Princess' Theatre, London, making her debut as 
Bianca in "Fazio.*' She was supported by Macready. 
After three or four years' residence in Europe, she returned 
to her native land, and made her appearance as Mrs. Haller, 
in the "Stranger," at the Broadway Theatre, New York, in 
1849. In the year 1852, after playing a farewell engage- 
ment throughout the United States, she returned to Eu- 
rope, and after a sojourn there of five years, again returned 
to the United States, making her appearance at the Broad- 
way Theatre, as Bianca, in 1857. In 1858 she again sailed 
for Europe, and after an absence of two years returned to 
New York, making her debut at the Winter Garden in the 
month of September, 1860. On the 17th of October, 1863, 
she played Lady Macbeth at the Washington Theatre, to an 
overflowing house, for the benefit of the Sanitary Commit- 
tee. The sum accruing to the U. S. Sanitary Commis- 
sion from the several performances of Miss Cushman, 
amounted to $8,267.29, as follows: Philadelphia, $1,314.27; 
Boston, $2,020.75 ; Washington, $1,800 ; Baltimore, $360 ; 
New York, $2,772.27. 

At last accounts Miss Cushman was playing at the West 
and Southwest with very flattering success. While per- 
forming at a Chicago theatre she was the recipient of a 
very valuable present, as a token of the high regard they 
entertained for her, individually and professionally, from 
the company attached to the theatre. The event was a 
perfect surprise to her ; she was deeply affected, and made 
her acknowledgments of the compliment in a neat and 
very feeling address. The last appearance of this lady in 
Albany was at Martin Opera House, as a reader before the 
Christian Association. A short time previous she appeared 
at Martin Opera House with J. B. Booth's Boston Combi- 



120 Theatrical Reminiscences. 

nation Dramatic Troupe, attracting excellent audiences. 
Those who were so fortunate as to witness her Lady Mac- 
beth, Queen Kathrine, and Meg Merrilles, will not soon for- 
get the rich intellectual feast they enjoyed; her portrayal 
of various scenes wherein the sufferings of the much abused, 
divorced Queen, were so truthfully and pathetically de- 
picted by this great artist, as to bring many an unbidden 
tear to the eyes of the large audience present. But the 
Meg Merrilles of Miss Oushman is the most positively 
electrical, and fearfully grand, of all her inimitable per- 
sonations. Miss Oushman has made Meg Merrilles a 
specialty — in fact wholly, exclusively her own — and no 
rival in it on either the American or British boards ; those 
who have once witnessed . her in the " Old Witch," will 
have little desire to see any other person, however eminent 
that person may be, in that peculiar role. It would seem 
as though when he wrote Guy Mannering, Sir Walter Scott 
must have had Charlotte Oushman in his mind's eye, as 
the proper representative of Old Meg. 



CHAPTER XXIII. 

EDWAED L. DAVEjSTPORT. 

His First Appearance on the Public Stage — His Eapid Progress 
in the Profession — His Remarkable Versatility — His Apti- 
tude for Study — His Success on the London Boards, Playing 
with Mrs. Mowatt and Macready — His First Appearance 
on the British Stage as Claude Melnotte — The London 
Critics Award Him Unqualified Approbation — His Private 
and Public Character. 

The annexed brief sketch of this universally popular 
and eminent American actor, will, we venture to say, be 
appreciated by all who have witnessed his incomparable 
impersonation of Shaksperian and other roles. Mr. Da- 
venport's laurels are all legitimate. Less than any other 
popular performer, who has a high position, is he 
liable to the charge of ad captandum tactics (catch the 
rabble.) He does not seek to take his auditors by storm ; 
he is content with winning them. In his impersonations, 
calm judgment controls his impulses; his action and 
declamation are never measured and guaged by the popu- 
lar applause, but regulated by his own correct taste. He 
appears utterly unconscious of the presence of his audi- 
ence. With some actors the first point is to establish a 
line of communication with the audience ; to enlist them 
by appealing looks and gestures ; to make them the parti- 
zans of the man, not judges of the actor, and then, as far 
as applause is concerned, their triumph is secure. If ne- 



122 Theatrical Reminiscences. 

cessary, a direct appeal will secure the coveted " three 
rounds" at any given moment. Mr. Davenport never 
descends to such violation of the proprieties of acting. 
His conception of character, matured in his closet, is pro- 
duced upon the stage as he has learned to understand it. 
He leaves nothing to chance-thought. Of course, like 
every man of genius, he is not insensible to, or unaided 
by, the inspiration of the hour. In reviewing any one of 
his delineations, one is struck with its harmony. None of 
its local lights and shades will be found to have been ex- 
aggerated, but the various parts appear so duly balanced, 
that the impression left upon the mind is precisely that 
produced by a well drawn, well grouped, and well colored 
picture. Mr. Davenport's mental qualifications for his 
profession are, in the first place, a hearty love of it ; and 
also, a sound judgment, great energy, and an aptitude for 
study. Physically, he is possessed of a good face and fine 
figure, and a voice which, though not adequate to long con- 
tinued rants in the "circles vain," is yet sufficiently pow- 
erful, musical and flexible. His attitudes are picturesque 
without exaggeration, his gestures graceful and appropri- 
ate ; his versatility of talent is quite remarkable. He plays 
with success Hamlet, Othello, Junius Brutus, Borneo, 
Enoch Arden, William in Black Eyed Susan, etc., etc., 
parts as dissimilar as can well be imagined. He sings a 
good song, and used to dance a good hornpipe. Few per- 
sons on the stage can do so many things so well. Mr. 
Davenport was born in Boston, in 1820, and went on the 
stage at the age of 16, playing at Providence, as Wildo 
in "New Way to Pay Old Debts." 

From the Tremont Theatre, Boston, Mr. Davenport 
went to Philadelphia, and remained there eight years; 
he subsequently engaged under Hamblin, on the Bowery 
stage, and at once became a great favorite. An important 
event in his theatrical career was his engagement with 
Mrs. Mo watt, in 1847. After making the tour of the 



Theatkical Reminiscences. 123 

States with her, they embarked for England. His first ap- 
pearance on the British stage was at Manchester, as Claude 
Melnotte, in the " Lady of Lyons," and he afterward made 
his debut at the Princes' Theatre, London, where his recep- 
tion, both by the public and the critics, was cordial and 
hearty. He was equally successful in playing with Mrs. 
Mo watt during their sojourn in England. Mr. Webster, 
of the Haymarket Theatre, London, engaged Mr. Daven- 
port to support Macready during the final engagement 
of that eminent tragedian at that theatre. Mr. Davenport 
alternated with Macready, and performed Othello, Iago, 
Brutus and Cassio, besides various juvenile tragedy roles 
that fell to his lot on other occasions. The British press was 
remarkably unanimous in its commendations of our coun- 
tryman, the most influential journals and severest critics 
uniting in awarding him unqualified approbation. Mr. 
Davenport is highly esteemed in private life, and as a man ; 
as an actor he reflects credit on his profession, and proves 
a great favorite wherever he goes. His Hamlet is pro- 
nounced by many competent theatrical critics to be one 
of the best in the country, not excepting Edwin Booth, 
who has made Hamlet a specialty. Mr. Davenport has 
ever been a favorite of the play-going public of Albany, 
his appearance, no matter in what role, being received with 
great satisfaction. His last appearance in Albany was at 
the Capitol Theatre, where he played a very successful en- 
gagement. 



CHAPTER XXIV. 

JAMES E. MURDOCK, THE GEEAT ACTOR AND ELOCU- 
TIONIST. 

He Commences his Early Private Career in the Capacity 
of a Bookbinder — Commences his Dramatic Career, as 
an Amateur, making his First Appearance as Glenalvon, in 
the Tragedy of " Douglas " — His First Appearance on a 
Public Stage, in Philadelphia, as Frederick, in " Lover's 
Tows " — After becoming Distinguished as an Actor, goes to 
Europe — Meets with Success — He Leaves the Stage and 
Enters the Army at the Outbreak of the Kebellion — Per- 
forms Good Service in Administering Consolation and Re- 
lief to our "Wounded and Sick Soldiers — He turns Farmer. 

This accomplished gentleman, and pre-eminent elocu- 
tionist and dramatic artist, is so widely and favorably 
known and appreciated, that it would seem quite super- 
fluous at this time to give more than a brief sketch of his 
private and histrionic career. To Albanians, in particular, 
the name of James E. Murdock has been for many years 
as familiar as household words, for he has endeared him- 
self to them by his exalted genius, gentlemanly bearing, 
and his many social qualities. When last heard from, he 
was residing on his farm in Ohio, in the full possession 
of all his faculties, and in the very best of health. 

Mr. Murdock was born in Philadelphia — the mother of 
so large a number of eminent American actors — in 
1812, and learned the bookbinding business with his 
father. Like Edwin Forrest, he commenced the pro- 
fession at the lower round of the dramatic ladder, joining 



Theatrical Reminiscences. 125 

an amateur association, and making his appearance as 
Glenalvon, in the tragedy of "Douglas." His first debut 
on a public stage was in 1829, at the Arch Street Theatre, 
Philadelphia, as Frederick, in " Lovers Vows." In 1830 
he appeared as Young Norval, at the Chestnut Street 
Theatre. The coincidence is rather remarkable that For- 
rest, Murdock, and other young American dramatic 
aspirants, especially Philadelphians, commenced their 
career in the same line of characters, viz : Young Norval, 
Frederick, in " Lover's Vows," etc. His first public ap- 
pearance in New York was at the Park Theatre, as Bene- 
dick, in " Much Ado About Nothing." After performing 
several engagements in Philadelphia and New York, in 
1842, he retired from the stage for the purpose of devot- 
ing a few years in a more thorough course of mental 
training than the earlier career of his profession had 
afforded him. 

" Col. Brown's History of the Stage " — to which we are 
indebted for some facts and data regarding several mem- 
bers of the profession — remarks, that the science of elocu- 
tion, always a favorite study with Mr. Murdock, presented 
the means of maintenance, and at the same time advanced 
the purpose he had in view. The acknowledged success 
and approbation universally awarded principal characters 
by the leading journals of the day, that attended a series 
of interesting lectures on Shakspeare, delivered in Bos- 
ton, New York, Philadelphia, and other cities, revived 
the desire to tread the boards ; and after a period of 
several months devoted to study and the preparation of 
a stage wardrobe, Mr. Murdock presented himself before 
a New York audience at the Park Theatre, in 1845, as 
Hamlet. In 1853 he visited California, making his debut 
at the American Theatre. In 1856 he visited England, 
making his debut as Young Mirabel at the Haymarket 
Theatre ; and after playing a very flattering engagement 
returned to America, appearing in 1857, at the New York 



126 Theatrical Reminiscences. 

Metropolitan Theatre, and afterwards in Philadelphia. 
He then purchased a farm in Lebanon county, Ohio, where 
we find him, in 1858, engaged in tilling the soil, raising 
corn, potatoes, and cereal grains, and monarch of all he 
surveyed. 

murdock's war record. 
Here conies the most important era in the career of this 
eminent, patriotic, large-hearted man. When the stu- 
pendous rebellion broke out, Mr. Murdock was just com- 
pleting an engagement in Milwaukee, and at the first tre- 
mendous excitement by the attack upon Fort Sumter, he 
was en route to Pittsburg, where he was under a professional 
engagement. On his arrival there he found his youngest 
son had enlisted in the Cincinnati Zouave Guard, and 
passed through Pittsburg before Mr. Murdock arrived in 
that city, bound for Washington. Although his name was 
on the bill for that night, Mr. Murdock's large patriotic 
heart could not resist the impulse to follow his son. Pack- 
ing up his trunks and forwarding them on to his home 
in Ohio, he threw up his engagement, solemnly declaring 
it should never be opened, and that he would never act, 
till the rebellion was overcome and peace proclaimed! 
During four years he devoted himself with all his heart 
and all his energies to the cause of his beloved country. 
He had earnestly hoped to be able to serve as a soldier, 
but, after several attempts, his health became greatly im- 
paired and he found himself an incumbrance instead of a 
help. He abandoned the idea of serving his country in 
arms, and devoted himself to our sick and wounded sol- 
diers, reading to and encouraging the men in the field, 
visiting the hospitals, and giving entertainments through- 
out the country for the aid of the Sanitary Commission. 
Like the bards of olden times, he inspired his hearers with 
the ardor of battle, and urged them to noble deeds of 
daring. Mr. Murdock was appointed Volunteer Aid on 



Theatrical Reminiscences. 127 

the staff of Gen. Eosseau. Keeping his word most reli- 
giously, he did not reappear on the stage until October 23, 
1865, when he commenced an engagement at Pike's Opera 
House. Cincinnati, which proved one of the most bril- 
liant engagements ever performed by any star actor in 
that city. 

MURDOCHS FIRST CLAUDE MELNOTTE. 

Mr. Murdock was the first Claude Melnotte in Philadel- 
phia, and the second representative of that character in 
America — Edwin Forrest having been the first. Mr. Mur- 
dochs recitation is considered to be one of the most easy, 
natural and effectual, of which our stage can boast. He 
never "o'ersteps the modesty of nature;" is clear and 
remarkably distinct in his articulation, correct and spirited 
in his gestures, and a perfect master in the delineation of 
the passions. He has won a high and enviable character 
as an artist, and his urbanity and general deportment have 
gained for him the very highest reputation as a gentleman. 
Mr. Murdock is a scholar in his art, with a mind and soul 
full of the poetry of the world, and a voice musically or- 
ganized and attuned to melod} r . We have not heard of 
his appearing as an actor for some time past, his time and 
attention being devoted to public readings and lecturing. 

In closing this sketch of this distinguished gentleman, 
or eminent actor and elocutionist, it may not be deemed 
inappropriate to relate the annexed very amusing anec- 
dote or incident relating to "Farmer" Murdock: 

When cultivating his farm in Ohio, he rode to town 
carrying a quantity of calf skins to sell. Driving to the 
tannery, he met the proprietor, of whom he enquired, 
" What are you paying for calf-skins to-day ? " The tan- 
ner, to whom Murdock was an entire stranger, took a huge 
chew of tobacco, thrust both hands in his pockets, and re- 
plied with a lazy air, that he "didn't know — he wasn't sure 
that he wanted any calf-skins at all." Murdock's anger was 



128 Theatrical Eeminiscences. 

at once considerably aroused with the fellow's mixture of 
impudence and indifference. Straightening himself into 
an acting attitude, he delivered a splendid piece of vitu- 
peration from one of Shakspeare's plays. The tanner 
soon changed indifference into amazement and admira- 
tion. The tanner was a very ignorant man, but Murdock's 
oratory and Shakspeare's words, had completely transfixed 
him ! When the " piece " was finished, the tanner reached 
out his hand saying, " Who are you, Mister ? If you'll 
only say that 'ere speech over agin, I'll give you a dollar 
a pound for your calf-skins!" Murdock gave him his 
name, sold the skins, and the two enjoyed a hearty laugh 
over the amusing incident. 



CHAPTER XXV. 

THE ALBAHY HISTEIO^IC ASSOCIATION. 

Its Organization — Its First Dramatic Kepresentation in the 
Old Thespian Hall, ;North Pearl Street — Its Struggles 
against Fanatic Interference — Its Final Triumph — List of 
its Prominent and Acting Members — The Histrionic Society 
forms the ^Nucleus to the Formation of the Albany Bur- 
gesses' Corps ; also to the Young Men's Association. 

The " Theatrical Kenxiniscences " of Albany would be 
very incomplete were not some allusion made to the old 
" Histrionic Association," an association that, for a num- 
ber of years, was one of the institutions of the city, and 
numbered among its members many who have since been 
prominent in social and public life. 

It had its origin at a time when the drama nourished, 
in all its vigor, at the old Pearl Street Theatre. Its light 
of life nickered and went out when Albany ceased to 
number a theatre among its attractions and places of re- 
creation and enjoyment. 

The Albany Histrionic Association was organized June 
6, 1827, for the purpose of improvement in reading and 
speaking, and for the representation of plays, blending 
amusement with instruction. 

The first officers were: Wm. S. Campbell, President; 
James S. Tobey, Manager; John Visscher, Treasurer; 
Frederick J. Hosford, Secretary. 

The following gentlemen were the members who par- 
ticipated in the first representation, July 24, 1827 : George 
9 



130 Theatrical Reminiscences. 

Vance, jr., William Thompson, Henry Glen, James Duffy, 
Thomas Crowe, Naham Rice and Eobert C. Yates. 

The pieces performed were " Raising the Wind," and 
" Bombastes Furioso." 

NAMES OF MEMBERS. 

The association at first occupied the old " Thespian 
Hall," located at No. 105 North Pearl street, on Clinton 
square, (now the residence of Lansing Pruyn, Esq.,) and 
continued to occupy it for seven years, or until 1834. Dur- 
ing this time, prominent among the acting members 
were : Henry Carpenter, Jeremiah C. Lamphere, Edwin 
J. Porter, John Gregory, Sanford Cobb, Friend Lawrence, 
William Ford, Orville Rowe, John D. Kearney, John Os- 
born, Philo K. Cole, Horace Pierce, William McCammon, 
James W. Parsons, Addison Low, Alvah M. Lockwood, 
John Gardner, George Trumbull, Arthur C. Southwick, 
Russell G. Higgins, Charles Van Ostrand, Cornelius 
Wendell, John S. Vedder, Harvey J. Stevens, James F. 
Campbell, Samuel Payne, Charles Woodhouse, Rawson 
Packard, Ira Porter, Peter E. Bowman, Benj. R. Spelman, 
Townsend Parish, Samuel R. Swain, Elijah Smith, H. J. 
Radcliff, Theodore F. Sharp, Stephen .Bell, Austin Pinney, 
David Roe, Samuel D. Tracy, Benedict Lewis, George 
Hocknell, John E. Reese, Ogden N. Covert, Walter Dela- 
mano, E. C. Blakeman, William Rice, Albert Dibble, John 
Silsbey, Henry W. Silsbey, Walter Whitney, Samuel Pin- 
cott, Charles H. Watts, Justus B. Todd, John Campbell 
and Cornelius Quackenbush. 

CLASS OF PIECES. 

The class of pieces performed were: "The Poor Gentle- 
man," "Wild Oats," "The Soldier's Daughter," "The 
Dramatist," " William Tell," "Honeymoon," " Speed the 
Plough," " The Way to Get Married," " Laugh When You 
Can," " School of Reform," " Road to Ruin," " Heir at 



Theateical Reminiscences. 131 

Law," "Wheel of Fortune," "The Rivals," " Secrets Worth 
Knowing," "Education," "Othello," " Barbarossa," arid 
others, together with a great variety of after-pieces ; all of 
these were sustained with great credit, and always to full 
houses, for there was no charge for admission, each mem- 
ber having his share of tickets to give to his friends. The 
tickets were sought after and engaged, for weeks before 
the performance, by young gentlemen, to enable them to 
secure the attendance of their young lady friends. 

The "public nights" took place about once in six 
weeks, interspersed with songs and recitations; the re- 
hearsals were once or twice a week. The rules and regu- 
lations were strictly enforced, and no member was allowed 
to appear on a public stage. They held " the mirror up 
to nature" for their mutual and social enjoyment. Capt. 
Johnny Cook's Band " did" the music. 

After having made some improvements to old " Thespian 
Hall," the 29th representation was given June 27, 1833. 
It cannot be better described than by inserting an address, 
written for the occasion by a member, Charles Woodhouse, 
and delivered by Cornelius Wendell. The pieces per- 
formed on this occasion were " Secrets Worth Knowing " 
and " Frightened to Death." 

FIRST ADDEESS. 

Before those secrets we unfold to view, 

TVell worth the ken of each and all of you ; 

And ere the vital flame, (by some called breath,) 

Is thought extinct in poor Jack Phantom's death ; 

Ere we divulge the first, or bring to sight 

One of those unseen ghosts that walk by night, 

And make grown babies quake with dreadful fear — 

Old women's faces look so doleful queer, 

That one would think, (if mirth did not prevent.) 

They stretched their jaws to give their knowledge vent, 

Or, for patent fly-traps did intend 'em/ 

So strangely droll they twist and bend 'em' — 

Before, I say, these things are shown to you, 

And to your vision clearly held to viesv: 



132 Theatrical Reminiscences. 

I am deputed an address to speak 

To these, our friends, that with their presence greet, 

And cheer, with smiles, of full approbation, 

The Histrionic Association. 

New alterations here, you now behold 

Have taken place — to speak of these I'm told : 

First, then, the floor, — the antiquated floor, 

"Which oft hath witnessed the tremendous roar, 

And seemed, in spite of age, to laugh outright, 

Whene'er the time came round for Public night, — 

Our ancient floor has been most rudely torn 

From off the stage, and without feeling borne 

By impious hands to serve for fuel, 

Perhaps, to boil some old maid's gruel ; 

It can no more it's uncouth form disclose, 

Nor will the jest awake its last repose, — 

'Tis gone, and one of modern style succeeds, 

To chronicle our after coming deeds. 

And Innovation, not too content to stop 

It's onward course, or yield it's right a jot, 

Has farther gone, — and pillars rise to view, 

To ; dorn our stage and beautify anew. 

Our chandelier is, by some means untold, 

Transformed from Tin, to brilliant, shining Gold. 

The Painter, too, hath here displayed his art, 

And so our room new beauties doth impart ; 

Art's not Nature's beauties, for those vou know, 

Are seated there in one delightful row. 

A ventilator, too, you see is there, 

To fan the ladies with the evening air. 

In fine, to make my story short and clear, 

We've done our best, our numerous friends to cheer; 

Kefine the mind, and elevate the soul, — 

Tile passion's crush that in guilt's bosom roll ; 

Exhibit virtue in her avery grace, 

Her holy joys thro' all her hardships trace ; 

And tear the veil from vice's haggard brow — 

In the vile earth her frightful visage bow, — 

Enforce this truth, (the Drama's end and aim, 

For which in Greece she first obtained the name,) 

That virtue only can pure joys bestow, 

And cause the mind sweet happiness to know ; 

"While vice with her dread, deadly, venomed sting, 



Theatrical Reminiscences. 133 

Doth naught but empty, transcient pleasures bring. 

And if in this we shall successful be, 

(And that we shall your partial eyes will see,) 

We'll be content, and with new vigour try 

To please, delight, perhaps to edify. 

Proclaim the drama's end — that end attain, 

Her moralizing sway, once more regain, 

"With satire, lash the foibles of the age, 

Improve our ethics, and adorn the stage. 

Thus shall we, our labors being ended, 

Find " Amusement with instruction blended." 

The 35th representation, and last in old "Thespian 
Hall," took place April 10, 1834, and the pieces performed 
were "The Wheel of Fortune " and " X. Y. Z." 

A new era in the history of the Association now opened. 
It seemed to be so firmly established in public favor, and 
its representations gave so much delight to crowded audi- 
ences of the "best society" of the city, that larger accom- 
modations were demanded. A resolution was adopted, 
and a committee was appointed, consisting of Benjamin 
R. Spelman, Cornelius Wendell and George Trumbull, to 
which was added Arthur 0. Southwick, Jessee Potts and 
J. E. Reese, to enquire into the expediency of leasing a 
lot, and erecting a suitable building for the use of the 
Association. 

The committee reported in favor of leasing the lot 
No. 126 North Pearl street, (then Orchard street,) now 
the beautiful grounds of Wm. G. Thomas, Esq., and erect- 
ing a suitable building on the same, and Cornelius Wen- 
dell, B. R. Spelman and Addison Low were appointed and 
constituted trustees, to carry the same into effect. They 
leased the lot, made a contract for the building, and issued 
stock for its payment, every dollar of which was, in a few 
years, paid. They were subsequently directed to purchase 
the lot, which they did. The affairs of the Association 
went on for a number of years in the most flourishing 
condition ; the " old stagers " of the Association had 



134 Theatrical Keminiscences. 

become "stars," and their friends, who were "legion," 
took pleasure in their performances whenever they could 
obtain tickets. The members formed a band of amateur 
musicians, and their "annual sleigh ride," composed of 
a party of from forty to sixty, was, for a number of years, 
one of the features of the Association. 

ALBANY BURGESSES' CORPS. 

It was at about this period that the organization of the 
Albany Burgesses' Corps took place, and among its first 
and foremost members, who were the originators and for 
many years the long-continued members of the Corps, 
were John Visscher, George Vance, jr., Cornelius Wendell, 
Benjamin E. Spelman, Addison Low, Ira Porter, John 
Osborn, George Trumbull, Alvah M. Lockwood — all promi- 
nent in the "Histrionic Association." A corps so re- 
nowned for discipline and soldierly bearing — whose name, 
" A. B. C," stands at the head of the alphabet, and of the 
citizen soldiery of the country — subsequently numbered 
in its ranks others of the Histrionic Association, prominent 
among whom we recollect Hale Kingsley, Benjamin M. 
Briare, Stephen W. Whitney, William E. Whitney, Wil- 
liam D. Mahoney, William H. Low, Thomas E. Courtney, 
Alphonso Walker, William Harbison and Henry C. Has- 
kell. 

It was John Visscher who drew up the call and obtained 
subscribers for the first meeting, at Avhich was organized 
the Albany Burgesses' Corps. It was John Visscher who 
proposed the name which was adopted by the corps, and 
has since been so much respected and admired. From the 
list of members of the old Histrionic Association, and 
others, a committee was selected to wait on Col. John 0. 
Cole, then, as now, an esteemed and respected citizen, and 
request his acceptance of the command of the Corps. 

He was the first commander of the company at its or- 
ganization, in 1833. Although forty years have passed 



Theatrical Reminiscences. 135 

away, his venerable form is among us, as one of the " Old 
Guard," almost as buoyant as in his youthful days, re- 
spected and loved by his old comrades, and by every mem- 
ber of the Corps. 



It was about this time that the organization of the 
Young Men's Association also took place, and prominent 
among the first members were most of the members of 
the Histrionic. The names of G-eorge Vance, jr., Corne- 
lius Wendell, Arthur C. South wick and others, will ever 
be affectionately remembered by their surviving compan- 
ions in these several institutions. 

The Histrionic Association during the summer of 1834 
had completed their building, and named it 



It was capable of holding and seating about 300 per- 
sons. The stage and meeting-room were commodious, and 
the audience apartment was neatly fitted up. 

The thirty-sixth representation, and the first in Histri- 
onic Hall, took place October 30, 1834, and the pieces per- 
formed were "Man and Wife," and "Love, Law and Physic." 

Previous to the performance, an address, written for 
the occasion by Charles Woodhouse, was - delivered by the 
President of the Association, Arthur C. South wick, and 
we think no apology is necessary for its introduction here. 

ADDRESS. 
Ladies and Gentlemen : — 

; Tis said that Fashion rules this world of our/s ; 
And true it is. we own and feel her powers, — 
Her sway resistless by this act confess, 
In presentation of this night's address. 
How like a dream this scene to-night appears ? 
And is it true, 'midst doubt, and hopes, and fears, 
A new and better house we now behold 
Upsprung, as by enchantment, — while our old 



136 Theatrical Reminiscences. 

jSTo more will tell the Drama's grief and mirth, 

But give that hoon to this, whose recent birth 

"We hail this night with pleasure undefined, 

Flowing from our every joyful, grateful mind. 

In ancient Greece the Drama claims her birth : — 

A sacred clime, renowned 'bove all the Earth 

For Science,. Art, and Eloquence, which tells 

To present time its spirit-moving spells. 

Here, on this soil, where the Historic pen 

Has wrote her epitaph of noble men, 

Where deeds of time are writ with impress deep 

On tables, their eternal fame to keep ; 

Here sprung the Drama — here life's mimic scene 

First taught as Truths from Fancy's field to glean ; 

"While, like a glass, reflecting e'en the hearts 

Of men, the Muses played their magic parts ; 

Portrayed the Passions of the human soul ; 

Taught us the good to cherish, and control 

The bad ; — placed Virtue in her own bright view, 

And painted Vice in every hideous hue ! 

And thus the Stage, if kept in morals pure, 

(A moving world in moving miniature !) 

Still holds a mirror, in which all may gaze, 

And learn a lesson to direct their ways ; 

And while we see fair Virtue's cause defended, 

Find the amusing with the useful blended. 

In this a helping hand we lend ; and here 

The Drama's friends this humble Temple rear. 

Here shall the Truth exhibit all her charms, 

And to black Falsehood sound her dread alarms; 

Here shall be cherished all that tends to raise 

The mind to soar aloft on Poesy's lays ; 

The moralist glean ethics for the young, 

Clothed in poetic dress, by Fancy sung ; 

And now spectators, in your smiles so bright, 

"We cheerfully begin this work to-night ; 

And tho' we hold in the Dramatic cause 

An humble station, yet, with your applause, 

We may our feeble aid lend with success, 

In showing Life in its most simple dress ; 

That all may see themselves reflected true 

To the image Justice gives of us and you : 

And thus transmit to the remotest age, 

A pure and useful Histrionic Stage ! 



Theatrical Reminiscences. 137 

The performances were usually interspersed with a 
variety of songs and recitations. 

The young gentlemen, representing the female charac- 
ters, were generally *>f the most delicate form, but it was 
the fortune of the tall and powerful Cornelius Wendell, at 
one time, to be cast in the character of " Destafena," in 
"Bombastes. Furioso," which part he performed to a de- 
lighted audience, and with great satisfaction. 

LIST OF MEMBERS, ETC. 

The association occupied this hall for eight years, mak- 
ing in all fifteen years of its existence, with great success, 
until the representations numbered one hundred. The 
following names were added to the list of members from 
time to time: Joseph Vance, John Q. Graham, John 
Thomas, Henry Russell, John Jarvis, Charles J. Gowie, 
Andrew Comike, James A. McDougal, John Parker, 
Robert Allison, 0. 0. Coleburn, Philip S. Van Ingen, John 
Brooks, Benj. Stokey, George Gladding, Thos. N. Rooker, 
John Van Heusen, Joseph C. Mayer, Thomas Peacock, 
Walter Strong, Robert Austin, James W. McKee, Henry 
Gardner, John W. Bell, William Harbison, Thomas R. 
Courtney, Francis D. Briare, Thomas Hoyt, Hugh J. Hast- 
ings, A. W. Mayer, Solomon Hosford, Peter A. Bailey, 
Edward Duffy, J. H. Johnson, James Cafferty, William 
Cafferty, Benj. M. Briare, Alphonso Walker, J. J. Galusha, 
Stephen B. Hutchins, W. P. Thatcher, Lewis A. Gregory, 
John S. Knapp, Gilbert Brown, Andrew B. Cross, George 
Turner, J. Lockwood, George W. Porter, Owen Hanks, 
Henry D. Stone, E. Henly, Hale Kingsley, William R. 
Whitney, Stephen W. Whitney, William D. Mahoney, 
Lorenzo Downing, William H. Low, Benjamin F. Smith, 
J. M. Jaquith and H. C. Haskell. 

The list of members and the casts of the representations, 
during the last four or five years of the existence of the 
association, have been lost, and we have, undoubtedly, 
omitted the names of some who were in at its death. 



138 Theatrical Reminiscences. 

The troubles, which finally caused the dissolution of 
the association, had their origin in the " religious revivals " 
of the period of 1842 and 1843 Many of its members be- 
came "convicted," and some "converted." It was with 
difficulty that a quorum could be obtained at its meetings. 

Theatricals were tabooed for the time, the finest repre- 
sentations failed to " fill the house," while the performances 
of " Brother Knapp " and others, in other auditoriums, 
outrivaled and outdid all the attractions of the most 
celebrated tragedians. Tragedy, comedy, farce, burlesque, 
song and recitation, all failed to " draw the crowd !" Many 
of its first members had died, or were immersed in the 
struggles and cares of business. The religious portion of 
community made a "dead set" at the Association, and it 
was no longer considered "the thing" to attend its rep- 
resentations. Its treasury became depleted, and dissolu- 
tion was painfully apparent to the few members who still 
clung to its waning fortunes. They determined that its 
" exit " should be at least " decently and in order." Its 
property was sold, its debts were paid, and the Association 
dissolved. We have no data from which to learn the exact 
time of its breaking up, or even the cast of the last repre- 
sentation. It must have been somewhere about 1844. 

Among some of its last representations was " London 
Assurance." Many old players, who witnessed it, declared 
that it equaled, if not excelled, the performance of the 
same play at the New York Park Theatre. The stage, 
particularly in the garden scene, was most beautifully set. 
Among the cast, we recollect 

Sir Harcourt Courtly "Walter Strong. 

Charles Courtly S. W. Whitney. 

Dazzle C. Wendell. 

Max Harkaway L. Downing. 

Dolly Spanker B. M. Briare. 

Cool H.J. Hastings. 

Lady Gay Spanker W. H. Low. 

Grace Harkaway Hale Kingsley. 



Theatrical Eeminiscences. 139 

And such a Dazzle as was the lamented Wendell. 

The Histrionic Association is among the things of the 
past; nothing of it remains except its memories. Who, 
of all those who " strutted their brief hour " on its stage, 
would, if they could, blot out one single memory. How 
varied and checkered have been the lives of those who 
have been its members. The dark curtain of death has 
been rung down upon many who will be remembered 
and loved by those who survive. On the dim distant shores 
of the past are strewn some wrecks, which, with swelling 
sails and summer skies, sailed out of the harbor of youth 
upon the unknown waters of life. Some survive in our 
midst, honored and respected citizens, but the greater 
number is scattered and gone. But alas ! such is life. 

" All the world's a stage, 
And all the men and women merely players. 
They have their entrances and their exits, 
And one man in his time plays many parts." 



GENERAL THEATRICAL REMINISCENCES, 

Embracing Sketches of Actors, Actresses, Musicians, Eques- 
trians, with Incidents, Scenes and Anecdotes connected 
therewith — amusing as well as thrilling events gener- 
ALLY — History of Theatres, Amphitheatres, Circuses — 
Wonderful Gagging Exploits of Dummy Allen, Forrest's 
old costumer — old king charley, of plnkster hlll mem- 
ORY — First Out-door Circus ever Exhibited in Albany 
without a Canvass — together with Sketches of Scenes 
and Incidents not connected with Theatres or Circuses. 



CHAPTER XXVI. 



A large portion of these Keminiseences were furnished 
by Mr. Geobge Stojje, a native of Albany, who began his 
professional life at the North Pearl Street Amphitheatre, 
under the management of Samuel Parsons. Mr. Stone 
afterwards visited all the principal cities and towns of the 
United States and the Canadas in a professional capacity, 
and made the tour of England, Ireland and Scotland. 
This afforded him ample opportunities of becoming 
personally familiar with the innumerable persons, scenes 
and incidents so graphically described. He was a 
comedian, possessing rare dramatic talent, with great 
versatility, and was very popular in the south and 
west. "His memory," as Mr. Forrest often remarked, 
"was the most remarkable I ever knew." Any scene, 
face or incident he saw was so fully and indelibly photo- 
graphed upon his memory, as to be seldom forgotten. 
The friendship existing between Mr. Forrest and George 



142 General Theatrical Eeminiscences. 

Stone — like onr own — was of the warmest and most 
devoted character — not a link in its lengthy chain 
ever having been severed. Mr. Forrest and Mr. Stone 
commenced their dramatic career about the same period, 
though Mr. Forrest was the senior by several years. Mr. 
Stone retired from the profession some years since, em- 
barking in the commercial business in Philadelphia, where 
he died, December 18, 1864, in the 53d year of his age. 
We would here state, that although Mr. George Stone 
furnished the bulk of the Eeminiscences under this head, 
the author, from time to time, supplemented them with 
numerous local incidents and anecdotes coming within his 
personal knowledge and observation. The principal por- 
tion of the Eeminiscences were written in 1864-5. Many 
changes have naturally taken place in the interim — many 
of the individuals spoken of have " shuffled oif this mortal 
coil" — but it has been concluded to give them as nearly 
in their entirety as possible, believing this plan most ac- 
ceptable to the reader. 



Miss Robertson. 

In speaking of the unsurpassed dramatic company at- 
tached to the old Pearl Street Theatre at its opening, it 
does not seem worth while to again enumerate the roll 
of distinguished artists comprising this company. Of 
Miss Eobertson, however, I cannot refrain from mak- 
ing special mention, her dramatic life being somewhat 
eventful. She was a beautiful woman, and one of the best 
actresses in her line (chambermaid) either hemisphere 
ever produced. She married Burroughs, once manager of 
the South Pearl Street Theatre ; a splendid looking fellow, 
an excellent melo-dramatic actor and a most efficient 
manager. She accompanied him to England, and a few 
years since married a stage carpenter at Liverpool and went 
to x\ustralia. Miss Eobertson was sister to Matilda Brun- 



General Theatrical Reminiscences. 143 

dage, wife of the mad poet, McDonald Clark. Clark and 
wife were separated in ten minutes after marriage, a divorce 
following shortly. Mrs. Clark was very beautiful, young, 
and highly accomplished. Miss Robertson died in Aus- 
tralia. 

Anderson, the Tragedian. 

This actor is believed to be living in St. Louis at a very 
advanced age. Anderson became engaged in a wrangle 
with a gentleman one night, at Preston's City Coffee House, 
which stood where the Delavan now stands, Anderson 
shooting him. He was tried and acquitted. Many of 
our citizens, especially the old theatre-goers, will doubt- 
less recollect Anderson as a leading member of Gilfert's 
unequaled company in the palmy days of the South Pearl 
Street Theatre. In June, 1864, a friend wrote us from Phil- 
adelphia that poor Anderson — then seventy-six years old- 
was an inmate of the alms-house in that city. Anderson 
is probably the only surviving member of the original stock 
company of that theatre. He was an accomplished gen- 
tleman, a finished actor, and a great favorite. He was a 
worthy member of the American Dramatic Fund, and yet 
he is allowed to pass his declining days in an alms-house ! 
Shame that poor Anderson should " to this complexion 
come at last ! " 

George Hyatt died at sea, on board a whaler. He was 
the author of the ever popular song, The Melloio Horn ; 
but numerous mellow horns sent poor Hyatt on a long en- 
gagement with Davy Jones. He was decidedly one of the 
most finished, accomplished and popular low comedians 
that ever graced the stage. 

Of William Duffy's and William Forrest's company 
(William was a brother of Edwin Forrest) of the Pearl 
Street Circus — the spot being now occupied by the Me- 
thodist church — but few remain this side of the tomb. 



144 General Theatrical Reminiscences. 

Jack Green and his wife are dead. Lewy Underner, then 
quite a young man, was attached to Duffy and Forrest's 
orchestra. James Wallace, one of the company, and 
formerly editor of The Sun, Philadelphia, is now assis- 
tant editor of a Louisville paper. He married Miss 
G-odey, the sister of Charles Durang, a sprightly and 
beautiful little actress of Duffy & Forrest's company, and 
after, for many years of the Park Theatre, New York. She 
is now dead. 

Thayer, a light comedian, and one of the very best at- 
tached to Burrough's company, and his wife (formerly Miss 
Fisher), are now playing at the Walnut Street Theatre, 
Philadelphia. Thayer was thin and slim, and an especial 
favorite in Albany; now he is jolly fat, and considerably 
over 60, doing old men admirably. Mrs. Thayer is one 
of the very best old women on the stage. Dave Eberlee, 
brother to the low comedian, Henry Eberlee, is also at the 
Walnut. He was at the Pearl Street Theatre under Bur- 
roughs. 

Johnny Cook, who yet lives, was a musician in that es- 
tablishment — his wife being an actress and vocalist of a very 
pleasing and versatile character. Charley Taylor, now the 
veteran author, having retired upon the Dramatic Fund, is 
living in New York. Charley did the vocal business and 
juvenile lovers in those days ; he was young and gay with 
locks of the raven's hue. There was also an actor at the 
old circus by the name of Henry, quite a genius in his way 
— a Yankee speculator, an Englishman by birth. He had 
been captain of a canal boat — preached sometimes — invent- 
ed a soap that would extract, he said, grease from an old 
shoe, played the fiddle, made theatrical dresses, kept school, 
and finally turned actor. Some years since, stopping at a 
hotel in England, I noticed in the bar-room a number 
of travelers, and among them was this Henry. He had 
been managing a theatre, but had busied — all his earthly 
belongings were in a pasteboard bandbox ! " But," said 



General Theatrical Reminiscences. 145 

he, " I have something that will yet make my fortune." 
It was a theatre on wheels, composed of cloth, and quite 
light, and intended to be drawn by the actors. Whether 
the poor fellow ever got the actors to draw the show, I 
did not learn, but I presume that they (like the manager) 
never drawed. 



Hunter, the G-reat Bare-Back Rider. 

Mr. Hunter was the great bare-back rider of the Pearl 
Street Circus. He left the States in 1829 for England, 
and became dissipated. He innocently took Ben. Stick- 
ney's coat from the dressing-room of the Royal Amphithea- 
tre, Liverpool, one night. Ben., to frighten him, had Hun- 
ter arrested, and was obliged to appear against him. John 
Bull's law being equal to Jersey, poor Hunter was trans- 
ported to Van Dieman's Land in 1839. It is said he has 
a wife and son in Philadelphia very respectably connected. 

There was an actor by the name of Russell attached to 
the Pearl Street Circus. I saw him several years ago play- 
ing Richard in Arkansas, in a pork-house converted into 
a theatre, and the way he battered old King Dick was 
never equaled by the little Greek, John Amiraille, who 
used to do scenes from Richard in George Watson's barber 
shop in North Market street. But the Greek was decid- 
edly the best actor of the two, especially in the dying scene. 
John Amiraille came to this city from Boston, became 
dissipated, and fell into the hands of Watson, who main- 
tained him as a hutt for his customers. He went upon 
the stage to burlesque Richard III, and his biography was 
written by John B. South wick, the Greek soliciting the 
subscription himself. Most of the edition was destroyed. 
The Greek died in the New York alms-house. 

Albany at that time could boast of one of the most pow- 
erful dramatic companies that ever graced the boards of 
any theatre in either hemisphere. 
10 



CHAPTER XXVII. 

George Barrett, I presume, had no superior as a light 
comedian, in the world; and his wife, too, was a chaste, 
accomplished actress. Her maiden name was Henry. She 
was a native of Boston, and said to have been the hand- 
somest and most fascinating belle in that city. Mrs. Bar- 
rett was enacting the Bavarian Girl one evening at the 
Pearl Street Theatre, and while singing the broom song 
approached her husband, saying — " Buy a broom ? Buy a 
little one for the baby ? " " Lord bless you," says Barrett, 
"I haven't got any babies ; I wish I had, and you was the 
mother of them ! " They were childless. She died in 
Boston. Miss Tilden, also, of Gilfert's company, was an 
enchanting actress, and a most amiable and accomplished 
lady. Miss Grey was a sweet vocalist, a beautiful and 
exemplary woman, and a great favorite. Mrs. Gilfert, as 
a tragic actress, had few equals. She was very highly ac-' 
complished, exceedingly modest and retiring, and her 
society was much sought by the best class of our citizens. 
After Gilfert's death she opened a school in New York 
for the instruction of young ladies in music, drawing and 
other branches of polite education. 

There are but few of that bright galaxy of artists 
who graced the boards of the South Pearl Street Theatre 
left — gone, gone to the tomb. The same may be said of 
Duffy and Forrest's company, Burrough's and Dinneford 
and Blake's, who succeeded Gilfert. 



General Theatrical Reminiscences. 147 

In relation to Edwin Forrest, then one of Gilfert's stock 
company, I well remember when he came to this city 
from the southern or southwestern theatres, (though a 
native of Philadelphia) an4 made his debut in the South 
Pearl Street Theatre — then a young man, I should think 
not over 21 years old. He was rather a wild fellow; 
what is modernly termed a fast young man, fond of fun, 
and a good lark now and then without especial regard to 
the expense ; but he at once became a favorite with all 
classes, both on and off the stage, but particularly the 
younger portion of theatre-goers. He was counted a good 
melo-dramatic actor by some, and tip-top in anything by 
others. 

Forrest's Physical Powers. 

As an evidence of the wonderful strength of Forrest, I 
will state a little incident that occurred while he was play- 
ing a star engagement at the Pearl Street Theatre. The 
play was The Gladiator. Old Dummy Allen, his cos- 
tumer, was assigned the part of one of the principal 
gladiators — a very important part — as Spartacus (Forrest) 
has a long and severe combat with him. Just as the 
scene in the arena was to commence, a constable by the 
name of Chet. Moore entered with a warrant against 
Allen, for an old score he had run upon some former visit 
to Albany. Chet. deeming that a good time to collect the 
amount, arrested Allen, without intimating to Forrest 
the object of his visit. Forrest being informed of the fix 
Allen was in, grabbed Moore, who was a powerfully built 
man weighing over 200 pounds, and hurled him several 
feet away against the scenes, retaining in his grasp good 
sized pieces of Chet.'s coat, vest and shirt. Forrest gave 
his word that all things should be made right and the 
performance went on as though nothing had happened. 
Chet. was asked the next day — the affair having leaked out 



148 General Theatrical Reminiscences'. 

— what he thought of Forrest's grip. " What do I think 
of it," replied diet., "why, he's a perfect com cracker, 
and ought to get out a patent for his machine ! " 



Forrest in Acrobatic Feats. 

It has been doubted by some if Forrest ever performed 
feats of agility in the circus, but there is no mistake about 
it. He performed in the North Pearl Street Amphithea- 
tre for Bill Gates' benefit, on a wager (he was at the time 
attached to the South Pearl Street Theatre, then under 
the management of Gilfert), in a still vaulting act, creat- 
ing shouts of laughter and applause from those present 
who knew it was Ned. The dress he wore on that occa- 
sion was from the wardrobe of the establishment, and con- 
sisted of an enormous pair of Turkish trousers, breast- 
plate and fly — his feet were adorned with a pair of 
sheep-skin pumps — the kind worn by a numerous train of 
auxiliaries. But few knew him, and much fun was in 
vogue at Ned's expense. For Charley Young's benefit, he 
also made a flying leap through a ban-el of red fire, singe- 
ing his eyebrows all off! This was his last "big leap" 
in the show business. Major Jacob Fredenrich is sup- 
posed to have been the person who held the stakes ($10) 
which was bet that Forrest dare not turn a sommersault 
at Bill Gates' benefit. Sol. Smith, in his Keminiscences, 
says he saw Forrest with a show in Kentucky. "Ned Avas 
performing flip-flaps at the rate of 240 per minute, and 
the way he kicked the dust was a caution to owls ! " For- 
rest played for Obe. Woodhull's benefit at the Park Thea- 
tre before he played at Gilfert's Bowery Theatre. Forrest, 
in a letter dated Albany, January, 1826, says : " To-mor- 
row night I do Timour for the first time. 0, temporal 
0, mores ! " This was in Gilfert's company. Bob Laidly 
was then playing the same part at the North Pearl Street 
Circus. A letter from Forrest, dated Washington, October 



General Theatrical Reminiscences. 149 

14, 1826, says : " I play Damon for the first time to-mor- 
row night." He says in the same letter: "I was detained 
and did not reach Washington in time. Charley Webb 
appeared as my sub, and played Eolla exceedingly well/' 
In another letter he says : " Albany is not the sphere for 
me ! I shall play with Kean." Forrest was a great ad- 
mirer of Kean. 



The First Circus in Albany. 

As far as can be ascertained, the first circus that ever 
visited Albany performed on the open lot near where Fort 
Orange formerly stood, now the steamboat landing. The 
riders were Mr. and Mrs. Stewart, from England. They 
had no canvas — nothing but stakes and ropes to form a 
ring for the riders. Collections were taken up by the 
clown among the audience outside the ring. Mrs. Stewart 
was a fearless, graceful rider. 4 

Eickets' English Circus, after having been burnt out at 
the corner of Fifth and Chestnut streets, Philadelphia, in 
1795, proceeded north, performing in New York and Al- 
bany, and returning thence to England. West's company 
performed at Albany in 1820, in the Colonie, back of a 
stonecutter's yard. West was from England, and had one 
of the most mao-nificent stud of horses ever seen on this 
side of the Atlantic. His company performed several sea- 
sons at the Broadway Circus. They first produced Timour 
the Tartar, Cataract of the Granges, Blue Beard, &c. West 
sold out to Price & Simpson, of the old Park Theatre, and 
returned to England wealthy. He is still living at York 
Cottage, in Yorkshire. Levi North married his daughter 
in England some years ago. 

Price & Simpson, and other Circuses. 
The palmy days of the Price & Simpson Circus began 
to decline in 1826. The animals all perished in a gale of 



150 General Theatrical Beminiscences. 

five days' duration, on board the ship Orbit, while going 
around by sea to Charleston from Baltimore. A beautiful 
animal (Fanny More) was alone saved of the entire stud. 
It was described as a terrible scene — the poor ani- 
mals followed in the wake of the vessel until they disap- 
peared, one after another, beneath the waves. After this 
disaster circuses seemed to have died out for a time. 

Pepin Burchard, with a French circus from Spain, landed 
in Boston in 1806. They performed in conjunction with 
West at Philadelphia. Pepin built the Walnut Street 
Theatre. One of his riders (Burt) is still living in Phila- 
delphia. Pepin was an officer in the cavalry of France, 
and had a thorough military education. He was one of 
the most graceful horsemen of the time and the Beau 
Nash of that day. Pepin was born in Albany, at the cor- 
ner of North Market street and the Colonic His parents 
were French, and left Albany for Paris when Pepin was 
two years of age. I received %he above account of him at 
New Orleans. 

Laison had a circus, in opposition to Rickets', at the 
corner of Fifth and Prune streets, Philadelphia, in 1796, 
and it was an extensive establishment. The pantomime 
and riding troupe were all Frenchmen. They embarked 
for the West Indies, and were never heard of afterwards, 
while their building fell down under the great weight of 
snow on the roof, just as a company of soldiers left it, it 
being used as a place to drill in. There was a rumor that 
the highwayman that attacked the inn kept by Mrs. Pye, 
between Albany and Troy, many years ago, was one of 
Pepin's horsemen. He was a southerner, and made a 
Mazeppa leap on his fleet mare from the quay. After 
a long chase at Greenbush he was shot, it is said, by 
Billy Winne. The highwayman died in Albany jail of 
the wounds. 

There was a circus on the hill in Albany, just above the 
jail in State street, corner of Eagle street. Parsons was 



General Theatrical Reminiscences. 151 

proprietor — this was before he opened the Pearl street 
show in 1826. It was on this spot that Joe Martin ex- 
hibited his wild beasts. Tippo Sultan, the great elephant, 
was the star, being the second elephant ever seen in Amer- 
ica. Tippo saved Joe's life in the Bowery, New York, in 
1822, under the following circumstances : Two tigers had 
got loose from their cages in the absence of their 
keepers. Martin came into the caravan at this mo- 
ment, to find one of the tigers had torn the lama to pieces, 
and was feeding on it. The other tiger had attacked 
the lion, the lion holding the tiger in " chancery \" 
The tiger that was feeding upon the lama then made at 
Joe — Joe had a cane in his hand, and kept the tiger at bay 
till he got to Tippo, who, quick as thought, with his 
trunk placed Joe on his back in safety. Tippo threw 
the tiger with great violence to the roof of the build- 
ing; the alarm was given and the animals secured. It 
was a most miraculous escape for Joe. This circus con- 
sisted of John Stickney and wife, Bill Gates, clown (many 
years low comedian at the Bowery Theatre), Jim Wester- 
velt, rider (died from the effects of a fall from his horse at 
Syracuse), Mat De Garmo, son of Dr. De G-armo, of Alba- 
ny, Jake Burton, an Albany boy (poor Jake died in the 
mines of Galena), Ned Carter, slack rope. The wonderful 
pony Billy, 30 inches high, was a great curiosity in those 
days. Old Bill Jones was the groomsman of this circus, 
and is, I believe, still living in Albany. There was also 
a theatrical entertainment given here. Duffy played Ti- 
mour, the stage being "mother earth." The dressing 
rooms were in the rear of the old jail. Mrs. Thompson 
played Zorilda — her charger flew up the steps like a cat. 
She sang comic songs and danced the slack wire, and was 
alive a few years ago, the wife of a strolling actor named 
Chip. Mrs. Prichard, formerly Mrs. Tatnall, played 
here. She was an excellent actress, and married Ham 
Hassick, the son of the celebrated Dr. Hassick, of 



152 General Theatrical Reminiscences. 

New York. I have a letter in my possession from Mrs. P., 
written from New Orleans. She writes: "I am now 
abont to leave New Orleans forever," and so she did. 
The steamboat on which she was took fire on Red river, 
and she perished. She was a beautiful woman. She was 
born in Boston, Pemberton being her maiden name. The 
actors boarded, at that day, at Foot's Inn, State street, 
near the Capitol. 

Old Jefferson gave a theatrical entertainment in Har- 
mony hall. A first class artist, he painted the scenes 
himself. 



CHAPTER XXVIII. 

John Biven's Theatre. 

Old Biven had a theatrical company in 1822-3, at the 
Thespian hotel, in North Pearl street. Charley Webb 
was the tragedian. Webb was found drowned in the canal 
at Washington, a few years ago. He abandoned the stage 
for a short time, and commenced an engagement in the 
pulpit — getting tired of preaching he again joined the 
profession. 

Mrs. Meline was the vocalist. Forbes and Eufus W. 
Blake played here. Forbes had a most remarkable faculty 
of turning ashy pale at will when occasions required. 
I never heard of any one possessing such control over 
the color of his face. His wife, a handsome woman, 
used to sing the then new Coming thro' the Rye, with 
great effect. Forbes, if I remember rightly, married a 
Miss Eaton, or Eston, whose parents resided in Fox (now 
Canal street), in Albany. 

Blanchard' s circus came from Quebec in 1826, and joined 
Parsons' at the North Pearl street. Blan chard was an 
Englishman. He died at Louisville, Ky., in 1837, and was 
buried by the Masonic fraternity. His son George is still 
living in that city. Cecelia Blanchard broke her leg while 
riding at Utica, in 1828, and it had to be amputated. 
William, the bare back rider, died in Martinique (W. I.) in 
1831. Blanchard opened the new amphitheatre, Balti- 
more, in 1829, and realized a fortune, but subsequently 
lost all. He opened the Chatham Garden, New York, as 
# circus, and failed. For many years he kept a small inn 



154 General Theatrical Reminiscences. 

on the Bloomingdale road. Madame Blanchard is now a 
French cook in New York. Cecelia is still living in New 
York. The immortal Nosey Phillips, of free lunch mem- 
ory, was Blanchard' s right hand man at this time. I hear 
he is defunct. Well, if he is dead, he has^aiVZ one debt at 
all events. So peace to his ashes! 

Old Biven opened Vauxhall Garden, in North Pearl 
street, in 1826. Here ice cream, fire works and Doty's pai nt- 
ings flourished for a while and caved in. Franklin sang 
the Hunters of Kentucky, a song that was all the go in 
that day. Le Febre balanced guns on one tooth, etc. A 
small stage was erected in front of a fountain, and on 
those boards strutted the African champion, Hewlet. This 
darkey was some in Richard and Othello. On the stage he 
tore King Dick to flinders, and of a hot summer's nighfc 
the audience kept a respectful distance from the foot lights 
(penny dips), in consequence of the strong goat-like odor 
diffused over the garden. Shakspeare's proud representa- 
tive, as Hewlet styled himself, was detected in New York in 

" Taking things that wasn't hizzen, 
Then arrested and sent to prizzen." 

Eichard Riker, recorder of New York, gave Hewlet a 
star engagement at Bellevue for one year, with a clear 
benefit at the expiration of the time. After receiving sen- 
tence, Hewlet placed himself in a theatrical attitude, ex- 
claiming, " Lead me back to my straw," — "I have done 
the state some service." Riker replied by saying "he 
should do the state some more good service." Old Hays, 
the renowned high constable, dropped the curtain, and 
Hewlet was led back to his straw ! 

There was a show shop at the corner of Division and 
Green streets. Theatricals, circuses, &c, flourished there 
for a short time, in 1823-24. Old Vilalave and family 
danced the rope here. 



General Theatrical Reminiscences. 155 

Parsons' Amphitheatre. 

The amphitheatre of Parsons, in North Pearl street — 
where the Methodist Church now stands — was probably 
one of the most spacious and perfect in all its appoint- 
ments in the Union. The ring and stage were immense. 
The rear of the building was constructed with an opening 
into a garden over a hundred feet in depth, thus affording 
a grand display in getting up such spectacles as the 
Cataract of the Ganges, Blue Beard, the Siege of Mont- 
gatz, &c, with processions of men, horses and elephants, 
that produced a grand and truly imposing effect. 

The following are the names of some of the dramatic 
company attached to this establishment : Messrs. Kenyon, 
Thompson, Lamb, Laidley, Stevenson, Henry Eberlee, 
Somerville, 0. W. Taylor, Logan (father of Eliza Logan, 
the celebrated American tragedienne, lately retired with a 
fortune), Avery, Roper, Mrs. Hatch, Mrs. Johnny Cooke, 
Miss Eberlee, Miss Hatch, Mrs. Lamb, Miss Robert- 
son, &c. 

The equestrian corps consisted of "West, ring master, 
Masters Jake Burton, Rockwell, W. and J. Bancker, Cala- 
han, Bill Gates, clown (afterwards first low comedian at 
the Bowery Theatre), Mrs. Williams, equestrienne, Hunter, 
the greatest bare-back rider in the world, Stickney, &c. 
The Cataract of the Ganges, and spectacles of the like 
character, were brought out here in a style of splendor 
probably never equaled. The stud of horses was not sur- 
passed in number, splendor and dexterity. The celebrated 
horse White Surrey was one of the most graceful, beauti- 
ful, learned creatures that ever entered the ring. Surrey 
did the leading business in tricks, storming fortresses, 
dashing up cataracts, and other wonderful feats. Many 
will remember the Cataract of the Ganges, and the real 
water, and the precipice up which Mrs. Cooke rode through 
the spray, upon that wonderful horse. After this business 
came to an end, Johnny Cooke opened a garden on State 



156 General Theatrical Keminiscences. 

street, directly opposite the Capitol, on the lot now occu- 
pied by the residence of Mr. Geo. S. Weaver. He made very 
little money there, but was of some service to agriculture in 
the line of irrigation, in this way : He used to exhibit fire- 
works at this place, and it was only necessary to post up 
his bills to announce the fireworks to bring on a shower, 
that generally terminated in settled rain. The clerk of the 
weather apparently had a special grudge against Johnny, 
and the windows of heaven seemed to have been situated 
directly over his garden. Cooke served in the Mexican war, 
and in the war of the rebellion, returning from the latter 
minus an arm. He still resides in the city — his wife 
died many years ago — a devoted member of the Methodist 
church. We are happy to state that " Captain Johnny " 
is in a tolerable state of preservation, considering the 
many vicissitudes through which he has passed. He 
can be daily seen at the Adjutant General's, office, in the 
Capitol, assidiously attending to his multifarious duties, 
happy as a lord, with a smile ever suffusing his benign and 
venerable face. 



Joke about the Bears. 

In one of the spectacular pieces brought out at the 
North Pearl Street Ampi theatre, a couple of bears were 
introduced, and for lack of real bruins a couple of bipeds, 
David Terry, now living in our city, and John Stanwix, 
brother of George Stanwix, then quite youngsters, were 
rigged up in bear skins, heads, ears, tail and all. The 
bears were brought on the stage, the keeper having a sharp 
instrument, something like a foil with sharp point, with 
which he " stirred up the animals " when occasion re- 
quired, and as the bear (Stanwix) did not move as rapidly 
as was desired, the keeper pricked Stanwix in a tender 
spot; this so stirred up his bearship's anger that he 
jumped upon his feet at once, stripped off his bear's gear, 



General Theatrical Reminiscences. 157 

squared off, and "striking from the shoulder/' knocked 
the keeper off the stage into the pit ! This little scene 
not being in the programme, naturally enough took bet- 
ter than anything offered, as was testified by long and loud 
shouts of laughter and applause ! 

Duffy & Forrest's company are, I believe, nearly all dead. 
"William Forrest was a printer. It is a little strange that 
most of the actors of the olden time, especially Americans, 
were printers. They bowed and strutted their " brief 
hour " before the immortal Ramage press and then were 
heard of no more as printers. I was one of a theatrical 
company some twenty-one years ago — the whole establish- 
ment was fully represented by the craft. It Avas a 
strolling troupe, and traveled through the interior of 
Pennsylvania. Charley Porter, the veteran actor (still 
living) was a printer; also, Harry Henkins, who learned 
his trade with the Harpers. T. B.Johnson, then a novice 
but not a stick, for he has since made a good impression. 
Joe Gilbert, who afterwards married Mary Duff, and Peter 
Logan, were printers. The latter died on board a steam- 
boat on the Ohio river a few years ago. The ladies con- 
sisted of Charlotte Cnshman, Susan Cushman and Mrs. 
Logan. 

The death of Mr. Duffy occurred at Albany, Marchr 12, 
1838. William Forrest died in Philadelphia in 1834. 
The last part he played was the ghost in a burlesque called 
High, Low, Jack and the Game, in the Arch Street Thea- 
tre, Philadelphia, and exclaimed (his last w T ords), as he 
descended through the stage, " D. I. 0." — (damn me, I'm 
off). Forrest died suddenly that night. Harry Quinn 
was one of that company ; like Alec Simpson, he had lost 
his memory. The last night he ever appeared on the stage 
was at the Arch Street Theatre. His dress was half off — 
he stood bewildered — Joe Horton apologized for him, and 
Quinn was led off the stage. He died shortly afterwards 
at Blakely Hospital. Rossiter, who played small parts, 



158 General Theatrical Reminiscences. 

afterwards ended his life in deep tragedy — he committed 
suicide in the theatre. Col. James Wallace is still living — 
he was editor and proprietor of the Daily Sun for many- 
years. He is now assistant editor of one of the Louisville 
papers. The colonel married the sister of Charles Durang. 
She was formerly Mrs. Godey, a most excellent actress, 
attached to the old Park Theatre for many years. Field- 
ing, of that company, died in the west. The last I saw 
of him was in Kentucky. He made a firm resolve to 
abandon the profession, as times had become desperately 
bad. Fielding was missed — no person knew of his where- 
abouts, not even his landlord ! I chanced to be traveling 
through the country one day, and discovered Fielding 
hoeing corn. It was a very hot day. In his left hand he 
held a pocket umbrella, in the right his hoe, a three-cor- 
nered Panama hat on his head, buff stage boots on his 
feet, and a pair of fashionable eye-glasses over his nose. 
He informed me that he had got along finely that day, 
for he had hoed four hills ! His manager (the farmer) 
was a Methodist preacher, and a very humane man. 

John Kent and his sisters were attached to this com- 
pany. Mrs. Herbert (Ellen Kent) is the oldest of the sis- 
ters. The youngest (Eliza) married little Harry Knight, 
a low comedian, at Quebec. Knight had his leg cut off 
on the railroad between Baltimore and Philadelphia, in 
1839, and died from the effects. His widow married 
George Mossop — a divorce followed, and she married a 
Mr. De Costa, a merchant of Philadelphia, and retired 
from the stage. Mossop then married the divorced wife 
of Harry Hunt, the vocalist. She was once a juvenile 
prodigy (Miss Lane), daughter of Mrs. Kinlock, formerly 
attached to the Albany Museum company. After Mossop 
died she married John Drew, one of the very best come- 
dians extant. 



General Theatrical Reminiscences. 159 

John Drew and the Drew Family. 

John Drew was the greatest Irish comedian since Power's 
time. Mr. Drew died at his residence, in Philadelphia, at 
half past four o'clock Wednesday afternoon, May 21, 1862, 
aged 35, probably from disease of the heart. He was born 
in Dublin, Ireland, and entered the British navy when a 
mere boy. When yery young he went upon the stage and 
by degrees attained a world-wide reputation in Irish char- 
acters. In Europe, America and Australia he was equally 
popular. Only a few years ago, after concluding a 
splendid engagement with Mr. Bourcicault in England, 
he returned to this country, and completed an engage- 
ment of one hundred and one nights at his wife's Arch 
Street Theatre, Philadelphia. In New York Mr. Drew 
was feted by all the members of his profession, and 
he proposed to return to England, to play a starring 
engagement. " Man proposes and G-od disposes." Noth- 
ing but a lifeless corpse was left of John Drew — 
the popular actor, the polished gentleman, the Irish 
Yorick, the fast friend, the good fellow — except his 
pleasant memory. The funeral was attended by a 
vast concourse of persons of both sexes. He was fol- 
lowed to Glen wood Cemetery by the Masonic fraternity, 
the Actors' Order of Friendship, citizens, &c. Many of 
the theatrical profession from New York were present. 
Mrs. Drew is a widow for the third time. What changes 
of scene has this lady seen since she bore the name of 
Louisa Lane, then the infant prodigy at the Park Theatre, 
and at a later date at the Pearl Street Theatre in Albany. 
Mrs. Drew continues to conduct the Arch Street Thea- 
tre, as heretofore. John Drew was married in Albany 
in 1850, to Mrs. Mossop, formerly Mrs. Hunt. This 
engagement was no doubt the luckiest one John ever made, 
for on that instant, such was the popularity of this versa- 
tile, charming and accomplished actress, who, we venture 
to assert without fear of contradiction, had not then an 



160 General Theatrical Reminiscences. 

equal in this or any other country, he could command 
an engagement at any theatre, and it is doubtful 
whether she now has an equal as a general actress. Mrs. 
Drew was for a long time the "bright particular star" and 
universal favorite, at Harry Meech's Museum* 

John Proctor, the pro mp tor, well known in Albany, in 
the South Pearl Street Theatre, was one of the massacred 
at the battle of Williamsburgh. He, as well as his com- 
panions in arms, begged for quarters, but in vain. The 
rebels fired eight bullets through the body of poor Proc- 
tor, and beat his brains out ! He was buried from his 
residence in Philadelphia. The Williamsburgh just men- 
tioned is the place where the first theatrical representation 
by a regular company of comedies took place in America. 
This was Hallanrs company. The first piece played was 
the Merchant of Venice, in 1752. During the revolution 
they occasionally played at Philadelphia, and in Nassau 
street, New York. 

The Drew family, which has become well known to the 
public on account of the talent possessed by its members, 
and which has been chiefly directed to the profession of 
the stage, has experienced a sad mortality among its male 
members. Mr. John Drew died on the 21st of May. His 
brother, Edward Drew, captain in Berdan's regiment of 
sharpshooters, was killed on the 22d of July before Rich- 
mond, while gallantly leading his men in battle. A third 
brother, George Drew, died at Fortress Monroe, of typhoid 
fever, incurred while on duty with the Forty-Ninth New 
York, on the 17th of August. Of four brothers, the only 
survivor and only male representative of the family is 
Mr. Frank, at this writing filling an engagement at the 
St. Louis Theatre. 



General Theatrical Reminiscences! 161 

John G-reen— John Hamilton. 

John Green, who recently died in Nashville, Tenn., was 
born in Philadelphia in 1795, of Irish parents, was a 
printer, and learned his trade in Shippen, near Fifth street. 
Old Jack was one of the pioneer actors of the west. His 
personation of Irish characters could not be excelled, and 
this was the opinion of the critics of the day. His wife 
was a talented actress, and a most amiable and accom- 
plished lady. She was subject to deafness, which annoyed 
her much on the stage as she could hear but very indis- 
tinctly the words of the actors. Mrs. Green was the 
original Lady Randolph to Forrest's Young Norval. 
John Green was a good-hearted man, and was his 
own worst enemy. He was a member of the American 
Dramatic Company for a number of years. He has a 
daughter living in Philadelphia. Edwin Forrest and John 
Green were warm personal friends from earliest boyhood. 
The last I saw of John Hamilton, the assassin, was 
in Louisville, Ky., twenty-three years ago. He was 
subject to fits of insanity — during their paroxysms he 
would rave like a maniac, his friends holding him 
with all their strength. He imao-ined the form of his 
victim was gazing upon him in a supplicating manner, 
and fiends, with serpents entwined around their heads, 
were about to convey him to hell! These scenes were 
truly horrifying to all persons present. Hamilton mar- 
ried old Dyke's daughter, a strolling manager of the west. 
She was quite young, the widow of an actor by the name 
of Robinson. Hamilton died in one of his ravings, in an 
obscure village in Tennessee. Hamilton was also a printer, 
and worked in various offices in Albany. He would sub it 
during the day, and play at the theatre at night. He gen- 
erally played second old men, assisted in choruses, and was 
what is termed a general utility man. 

The following comprised Duffy & Forrest's company, at 
the Pearl Street Theatre : John Green, Wallace, Proctor 
11 



162 General Theatrical Reminiscences. 

(since starring it in Europe), John Herbert, Riley, John 
Kent, W. S. Walton, Bobby Meer, John Hamilton, 
Johnson, Corey, Fielding, Lansing (Lans. Dougherty), 
James, Frederick, Parkinson, Harry Knight, Harrison, 
McOonachy, Master Meer, Mrs. Greene, Mrs. Meer, Miss 
Woodhull, Miss Ellen Kent, Miss Eliza Kent. 

Jack Collins, with his round, red and good natured phiz, 
strutted on the Albany boards. Jack was a good fellow 
and a fair actor. He was the son of Lord Dacres, Avith 
whom the Yankees contended on the broad Atlantic. 
Collins died in New Orleans. 



Henry Rockwell— A Romantic Life. 
Henry Rockwell, a handsome boy, from TJtica, was one 
of Parsons' apprentices at the North Pearl Street Circus. 
He became manager of various companies in the United 
States, erected a theatre in Cincinnati, and at one 
time was quite wealthy, but he failed in the business, and 
died shortly afterwards. A gentleman by the name of 
Bagely, of Albany, was his guardian, and his life was 
strange and romantic. It never was rightly known who 
his parents were. In the fall of 1836 I was standing in 
company with Rockwell one cold night, on the corner of 
Camp and Poydras streets, New Orleans. An English 
woman approached us with two small boys, about five 
and seven years of age. She seemed weighed down with 
grief. She asked if we knew of any humane person w r ho 
would take her children and rear them — she had married 
a second husband, who was a Balize pilot, and she resided 
with him at the South West Pass of the Mississippi river. 
This spot is one of the most dreary of God forsaken places, 
the pilot's house being erected on piles and surrounded 
by swamps, drift logs and alligators. The mother in- 
formed us that her husband had conceived an ill feeling 
towards her children, and at his request she had come up 



General Theatrical Reminiscences. 163 

to the city, to get rid of them, or never return herself. 
Rockwell took the oldest boy, and a man by the name 
of Outlaid, a constable, took the other. It was a heart- 
rending scene, to see the mother and children part forever! 
Outlaw, being a man of dissolute habits, neglected the child 
that was given to him, and it died soon afterwards of yellow 
fever. Rockwell well trained the other little fellow in the 
arts and mysteries of the ring, and he soon became a great 
favorite. Little John became the youthful rider in a com- 
pany that commenced its tour through Florida and Ala- 
bama, and was taken sick — physicians pronounced it a 
hopeless case — the company was obliged to leave for other 
towns northward, and were reluctantly compelled to leave 
him, and, it was supposed, forever, in the hands of 
strangers. Many years passed, and the fate of Little John 
remained a mystery. I happened to be in New Orleans on 
another occasion, and one night, at a masquerade ball, a 
rough, sea-faring man approached me and asked my name, 
and if I knew one Rockwell. He was the step-father of 
John 0. He informed me that his wife had been dead 
many years, but before she died she had received a letter 
from her son in Alabama. This was Little John. He recov- 
ered from his sickness, and, like Oliver Twist, had fallen 
into the hands of a good Samaritan, the daughter of his 
benefactor. Now the curtain drops on this strange drama. 
The youthful rider I have spoken of was one of the filli- 
bustering party under Lopez, who was captured and gar- 
roted at Cuba, a few years ago. 



CHAPTER XXIX. 

Mons. Mallet. 
In the orchestra of Biven's Theatre, North Pearl street, 
near the corner of Patroon, was an old Frenchman by the 
name of Mons. Mallet (pronounced Malla). This was the 
identical person from whose history Hackett, the actor, 
first conceived the idea of forming the play of Mons. 
Mallet. Mallet was ardently attached to Napoleon, 
and after the exile of the emperor, was obliged to 
flee to the United States, leaving behind him an only and 
beautiful daughter. He took up his abode in an obscure 
New England village. He called daily at the post-office 
for a letter from his daughter, asking for a letter for Mons. 
Malla, and was of course answered in the negative, the 
clerk seeing no such name as Malla (spelt Mallet.) The 
poor Frenchman was nearly insane at the disappointment 
— still he called at the post-office daily, and received the 
usual answer of " no letter for Mons. Malla/' By accident 
the letter was discovered by a person who understood 
French, and the old Frenchman received the joyful news 
of his daughter's safety. She shortly afterwards arrived 
in the United States. Mr. Hackett was playing Mons. 
Mallet many years ago in Boston. Judge of his surprise 
when he was informed that the hero of this play was then 
in the orchestra! 

Terrible Scene— Death of Low! 

I became acquainted with two young men in the South- 
western country some twenty-two years a° - o. Thev were 



General Theatrical Reminiscences. 165 

Albanians, and had embraced the theatrical profession. 
They passed through the most thrilling scenes I ever 
heard of on the stage of life. The first one's name was 
James Low. He was the low comedian at the Lonisville 
theatre, under the management of Mrs. Drake. Madame 
Celeste was at that time playing the French Spy. Low 
was playing Toney, the comic part in the piece. In the 
fighting scene Toney rushes on the stage with a bayonet 
in his right hand — he pretends to be killed, and lies down 
as if dead — he suddenly rises to his feet and hurries off 
the stage backwards. In this manner poor Loav rushed 
off the stage clinching the instrument of his death! His 
hand came in contact with one of the wings with great 
force, and ran the bayonet deep into his groin, and he 
staggered into the green room. I was near him when he 
expired. His last words were "Mother!" The scene was 
truly horrible. The contortions of the painted face while 
in the agonies of death, can never be effaced from the 
memory of those who witnessed this melancholy sight. 
The performance proceeded notwithstanding. 



Capsizing of a Vessel — Terrible Suffering— An In- 
tensely Thrilling Scene! 

The other person was Lansing Dougherty, son of Coun- 
selor Dougherty, of Albany, who was attached to Duffy & 
Forrest's company, under the name of Lansing. He 
started for Texas from New York, on board a schooner, 
with a theatrical company. The vessel, during a se- 
vere gale in the gulf, was capsized at midnight! 
All the passengers and crew were lost except Dougherty 
and another young man whose name I have forgotten. 
They managed to hold on to their berths for two days, there 
being just room enough between the decks for their 
heads to remain out of water, in their living tomb. The 
sea had finally become calm, and they had as much light 



166 General Theatrical Reminiscences. 

as if in a diving bell. They could distinctly see the 
sharks -playing about and devouring their companions! 
They resolved to make one desperate dive for the compan- 
ion way, and reach the keel of the vessel if possible. 
Dougherty's companion was to dive first and, if success- 
ful, was to give a loud knock on the planks. He made 
the first dive, and was successful. In a few moments 
Dougherty heard the knock. He also made the fearful 
dive, and reached the keel of the vessel. But here fresh 
horrors and suffering awaited them. For three long dreary 
days they clung to the vessel in the broiling sun, with no 
clothing but their shirts ! Their bodies became full of 
blisters and sores from the heated copper on the keel. 
They were finally picked up by a vessel and brought to 
New Orleans — the most miserable looking subjects the eye 
ever beheld. I obtained the account from Dougherty 
shortly after he came out of the hospital. I last saw 
Dougherty at Cincinnati, playing old men in John Youngs' 
company. 

Miss Pelby, an excellent actress, played at this theatre. 
She was from Boston, and the daughter of manager Pel- 
by. Her mother, a very talented lady, modeled the group 
of wax statuary, The Trial of Christ. The Mestayer fam- 
ily are related to the Pelby's. Mrs. Mestayer and Mrs. 
Pelby are sisters. 

Mrs. C. Thorne — wife of Charley Thorne, the actor, 
who has received an immense fortune from his father's 
estate, in New York — is niece of Mrs. Pelby. The Mes- 
tayer family were all connected with the stage. John was 
a low comedian — he is dead. Lewis played old men. 
Charley is dead. His widow is Barney Williams' wife. 
Old Mestayer is dead. Harry Mestayer was connected 
with the circus. He was an excellent violin player. 

The first tight rope dancer of any note flourished in the 
reign of Charles II. His name was Johnny Hall. Du- 
crow was a famous rope dancer and rider. Herr Cline 



General Theatrical Reminiscences. 167 

was born in London. His brother Andrew, a Herculean 
performer, was born in Germany. Thomas, another 
brother, was a melo-dramatic actor of the old Franklin 
Theatre, New York. His daughter was Jerry Merrifield's 
wife. Jerry Merrifield was found dead in his bed at St. 
Louis, August, 1862. He was well known in Albany; he 
was a good comedian, and a clever fellow generally. 

Goff, the man-monkey, was one of Ducrow's produc- 
tions. The bills of the day metamorphosed Goff into a 
Frenchman, known as Mons. Goffe. He was a London 
cockney, and came as near imitating the monkey as any 
human being could, on or off the stage. He performed 
in Albany. He came to the United States with Fletcher, 
the statue man. Fletcher married Miss Geer, of Duffy & 
Forrest's company. 

Edmond S. Connor is living in New York. He married 
Charlotte, daughter of Jack Barnes. Connor was at one 
time manager of the Green Street Theatre, Albany. Old 
Mrs. Barnes — once a star of the first magnitude — is still 
living. She was sister to Mrs. Walstein, who played old 
women equal to Mrs. Barrett, of Gilfert's company. Mrs. 
Walstein was attached to Biven's company — the theatre 
being in Division street, near Green. 



The Mysterious Egg— The Frightened Barber— Old 
Tweed Dale. 

Mr. Danfield had out flaming posters that he would 
give a grand exhibition of fireworks on the hill, in Wash- 
ington street, near the old hay scales, in 1824 or 
'25. Fireworks had been played out, in a manner. 
Several exhibitions of that kind had been given by a Mr. 
Buckmaster. Mr. B. had declared that he would astonish 
the Bucktails at one of his fiery exhibitions (many years 
before the display intended upon the hill), old Buck as- 
tonished himself, as well as the doctors. He was foolhardy 



168 General Theatrical Reminiscences. 

enough to fire one of the rockets with a lighted cigar 
held in his mouth, and retired a wiser and better man, 
but terribly burned. Danfield's exhibition was a miser- 
able failure for the following curious reason : About 
this time a hen's egg was found in a nest in the neighbor- 
hood of Isaac Dennison's mansion. On the egg, in bas 
relief letters, was this strange inscription : " Oh, ye sin- 
ners, repent, for the world ivill be burned on the tenth day 
of November!" Very few persons thought of amuse- 
ment — the excitement ran high. There were no spiritu- 
alists or Millerites in those days, and, if there had been, 
they would have been thrown far in the background. 
Knots of sinners could be seen on the corners of the 
streets, discussing the coming event. Some folks fairly 
howled with fear and trembling. Some became as patient 
as lambs about to be led to the slaughter and awaited the 
coming of the "general muss" with christian resignation. 
A poor devil, a barber, became so nervous while shaving a 
customer, that he actually shaved off one of his ears ! 
Old grandfather Tweed Dale, of the Lancaster school (who 
never flogged the urchins) was minus of scholars for 
many a day. The lighting youths of the hill and Fox's 
Creek ceased to batter each other with brickbats during 
this awful suspense. Hittites had played out. Jim 
Boardman, who " built stronger than the mason," and who 
was always on hand to assist the coroner in rifling the 
pockets of drowned persons, declared that the " folks were 
crazy, when they might escape the conflagration by put- 
ting for Lower Canada." Old Penny, a demented street 
preacher, pitched into the sinners right and left, and 
warned all hands to keep their eyes skinned for the fatal 
10th of November! John Winne and Lew Mcintosh, 
typos, said " the 10th might come and be blowed! " They 
had received nothing but lottery tickets for their services 
(the boss gave lottery tickets to the jours in lieu of cash). 
Thev had drawn nothing but blanks for six months, and 



General Theatrical Reminiscences. 169 

had become desperate!'' Johnny Feltman gave them 
fatherly advice, and with tears in his eyes begged them to 
"repent, and remember the little scores on his slate before 
the 10th." The affair, of course, turned out to be a de- 
cidedly bad egg. The hoax was got up by a shoemaker, by 
preparing the shell of the egg with a strong acid, after 
putting on the letters. Hence this grand hubbub among 
the weak-minded and credulous ! 



CHAPTER XXX. 

" Pinkster Day "—Old King Charley. 

Old Piatt, a magician, performed slight-of-hand and 
ventriloquism on public occasions in the summer. Among 
some of the interesting experiments performed by the pro- 
fessor were running pins and needles in various parts of 
his body, biting and licking a red-hot poker. A collec- 
tion was then taken up for old Piatt's benefit. He could 
generally be seen, with his violin, on Pinkster day, 
on the hill — Pinkster hill — south of the Capitol, among 
the darkies. Pinkster day was a great day, a gala day, or 
rather week — for they used to keep it up a week — among 
the darkies. The dances were the original Congo dances, 
as danced in their native Africa. They had a chief — Old 
King Charley. The old settlers said Charley was a prince 
in his own country, and was supposed to have been one 
hundred and twenty-five years old at the time of his 
death ! On these festivals old Charley was dressed in a 
strange and fantastical costume. Nearly bare legged, 
he wore a red military coat trimmed profusely with varie- 
gated ribbons, and a small black hat with a pompon 
stuck in the side. The dances and antics of these darkies 
must have afforded great amusement for the ancient 
burghers. As a general thing the music consisted of a 
sort of drum, or instrument constructed out of a box with 
sheep-skin heads, upon which old Charley did most of the 
beating, accompanied by singing some queer African air. 
Charley generally led off the dance, when the Sambos and 



General Theatrical Reminiscences. 171 

Phillises, juvenile and antiquated, would put in the double- 
shuffle-heel-and- toe-breakdown, in a manner that would 
have thrown Master Diamond and other modern cork- 
onians somewhat in the shade. These festivals seldom 
failed to attract large crowds from the city, as well as from 
the rural districts, affording them any amount of unal- 
loyed fun. Negro minstrelsy has held its own down to 
the present day, now in full feather — it is likely to so con- 
tinue for years to come. 



The Menagerie— The " What Is It ? " 

Thirty-five years ago a sort of menagerie opened in the 
stable opposite Bowlsby's Hotel, in North Market street, 
southwest corner of Van Tramp street. The lower part 
of the building is now occupied as a stove store, &c, and 
the upper part by several families. Bowlsby's was consid- 
ered a first-class hotel in those days, equal to Skinner's and 
Rockwell's, afterwards called the City Hotel and Mansion 
House, (the sites of those two celebrated hotels are now 
occupied by those magnificent structures, Marble Hall and 
Ransom's Building.) Bowlsby's Hotel had been previously 
kept by Reuben Smith, uncle to Captain Henry Smith, a 
brave young officer, aid to General Scott in his Mexican 
campaign, in which he lost his life. Members of the 
legislature, and other dignitaries, sojourned at this house. 
But to the show — it consisted of two cub bears — Dandy 
Jack, a gloomy looking monkey, was the star — a calf 
with two heads, and a monster that was thrown upon 
the beach at Staten Island — at least so the showman 
informed the audience. It was drawn on four wheels, and 
was about twenty feet long — it was a sort of What is it. 
Its tail resembled that of a whale — its body was black and 
smooth, the head square, with a pair of eyes resembling 
two bung holes in a large sized hogshead. Dr. Latham 
was the manager. Stevens, in his travels in South Amer- 



172 General Theatrical Reminiscences. 

ica, speaks of finding a small ranche on the Andes, I 
think, and was greatly astonished to discover human be- 
ings living in this remote region. He hailed, in Spanish, 
two men, but judge of his surprise when he was answered 
in English, by two live Yankees : Dr. Latham and his 
partner, who were trapping wild beasts! 



Menagerie Destroyed by a Mob ! 
This menagerie I have spoken of was destroyed by a mob 
at Waterloo, in the western part of the state. The mana- 
ger had changed the critter to a Avhale. The show folks 
besmeared it through the day with a very rancid kind of 
oil — the odor having the effect to keep the meddling au- 
dience at a respectful distance, as close examination would 
be fatal to the whale stock. A prying, meddlesome law- 
yer — a Yankee, of course — felt extremely anxious to ascer- 
tain the exact thickness of the whale's hide. He accord- 
ingly took out his knife, regardless of the whale y smell, 
and cut a large hole in the side of the monster. The law- 
yer was completely dumbfounded. The monster of the 
deep had a body made of sole-leather ! — his tail was the 
only thing that was Simon pure about his whaleship. The 
manager and his assistants carried their wardrobe, trunks, 
etc., in the whale's belly — (probably taking the idea from 
old Jonah) ! The head of the whale was portable, or 
come-off-able. Suffice it to say, as soon as the trick was dis- 
covered the mob harpooned the entire show. This was 
some time previous to Barnum's day, and the art of hum- 
bugging had not arrived at the present pitch of perfection. 



Charley Parsons, or Roaring Ralph Stackpole. 

But I am wandering too far from Albany — so I will 
resume the reminiscences of old G-otham. Charley Par- 
sons played at the South Pearl Street Theatre, after Bur- 



General Theatrical Reminiscences. 173 

rough's time. Burroughs, a splendid rnelo-dramatic per- 
former, managed for Sandford. Mrs. Hamblin, wife of 
Tom Hamblin, of the old Bowery, was the leading woman 
in this company. Parsons was an inferior actor, especially 
in tragedy — he was of Herculean frame, round shouldered, 
and had a voice like artificial stage thunder ! He was a 
great favorite, however, in the southwest. He played 
Roaring Ralph Stackpole to perfection. Had Dr. Bird 
seen Ralph and Parsons he would have been puzzled to 
distinguish one from the other. It was actually worth 
the price of admission to see Parsons as Ralph, without his 
uttering a word. Parsons being a speculative genius, 
left the stage and went to preaching in the Methodist 
church at Louisville, but he soon slid backwards, and 
finally slid on the stage again — but the spec wouldn't pay ; 
he made a failure, and so Roaring Ralph abandoned the 
devil's frying pan (the stage), and Avas once more received 
to the arms of his deserted flock. I heard him preach the 
next Sunday after he left the stage, but it was Roaring 
Ralph all through the sermon, the prayer, the benedic- 
tion. 

Clara Fisher and her Songs. 
Among the celebrities that appeared about this time at 
the South Pearl Street Theatre, was Clara Fisher, who 
was the prodigy of her time. She was the youngest sister 
of Mrs. Vernon. Vernon had the management of the 
theatre for some time, till he lost his voice, and retired to 
a farm, where he died. He was the architect of the first 
St. Paul's Church, in Ferry street. The songs that came 
upon the stage at this time were the Hunters of Ken- 
tucky, WhcCll he King out Charley, The Dashing Wliite 
Sergeant, sung by Miss Twibill; Coming thro' the Eye, 
sung by Mrs. Forbes. Sloman introduced Kitty Clover, 
and other popular comicalities. Miss Fisher sang with 
much effect Fall not in Love, dear Girls Beware. The 



174 General Theatrical Reminiscences. 

songs soon wore out, and those who sung them had as 
brief a career. 

Miss Twibill, a beautiful girl, who played at the Pearl 
Street Theatre, was the daughter of Twibill, an actor and 
vocalist, who was unequaled in nautical songs, such as the 
Bay of Biscay, The Waterman, Harry Bluff, &c. It was 
said that Twibill treated his daughter very cruelly at 
times. During one of Twibill's fits of anger, the gallant 
Tom Flynn, comedian, interfered with her heart, band 
and fortune, and one day made the pretty and fascinating 
Miss Twibill Mrs. Flynn. Flynn was a genius in his way. 
He was engaged to play at the Pearl Street Theatre, and 
was to open as Young Rapid, in Cure for the Heart Ache. 
Night approached, the boat from New York was detained 
on the bar. Vernon, I think, was substituted for Flynn, 
but at the end of the first act Flynn arrived and finished 
the play. Old Jack Barnes and his wife were playing here 
at the time. Old Jack, in his own peculiar style, made an 
apology to the audience for Flynn, which was as good as 
a first-class farce, and the performance went off with im- 
mense eclat. Roberts, an excellent comedian, played that 
night. His rendition of Bailey Nichol Jarvie, in Bob Boy, 
was probably never equaled in either hemisphere. His 
French, Scotch, Irish and Cockney dialect was smooth, 
natural and perfect. He was in every sense of the word a 
gentleman and a scholar, amiable, and beloved by the pro- 
fession, as well as by all who were fortunate enough to 
become acquainted with him. Roberts succeeded Gates at 
the Bowery. He died at Charleston. Roberts was a 
printer, and an excellent one, too. 



Tom Flynn and the Elder Booth— How Booth's 
Nose was Broken, 

Speaking of Tom Flynn reminds me of an incident of 
some importance. Tom broke the nose of the celebrated 



General Theatrical Reminiscences. 175 

tragedian Lucius Junius Booth, with a fire poker or tongs, 
at a hotel, I think, in Charleston, S. C. This was the 
cause of that very marked nasal sound in Booth's utter- 
ance. Previous to this unfortunate mishap Booth's face 
was very handsome — a perfect model ; his nose was promi- 
nent, but not too much so, and a little inclined to acqui- 
line. His face, as all who ever saw it well remember, was 
" strangely beautiful," and remarkably expressive. His 
eyes were of a dark blue, full, rolling, and as bright and 
piercing as the eagle's. Biooth had the one great failing 
of indulging too freely in the bowl, though at times he 
would abstain from it for weeks, even months. Liquor 
would frequently produce upon him a state of frenzy that 
was sometimes terrible, and when these fits were on, he 
would as soon attack friend as foe. Even in his palmiest 
days, when Booth was himself, so deeply would he be en- 
grossed in the character he represented, and be so completely 
carried away with it, that his brother actors were rather shy 
of him, and well on their guard lest he should play real 
tragedy with them. While Booth was playing Richard at 
the old Park Theatre, he chased, with sword in hand, an 
actor who played Richmond, out of the back door of the 
theatre into the park. Richmond, however, being the 
swiftest on foot, eluded him. Booth came very near kill- 
ing Miss Johnson (afterwards Mrs. Hilson), at the Park 
Theatre. He was playing Othello, she Desdemona. In 
the scene where Othello is supposed to smother Desdemona, 
by placing a pillow over her face while she is in bed, 
Booth bore down the pillow with such force as nearly to 
suffocate her. The actors behind the scenes, fearing he 
was carrying the joke too far, or acting a little too naturally, 
rushed to the bed and extricated the fair Desdemona from 
her perilous situation. 

But to return to the breaking of Booth's nose. Booth 
and Flynn, it appears, roomed together. In the course of 
the night, having just returned from the theatre, Booth 



176 General Theatrical Reminiscences. 

attacked Flynn, when in one of his fits, and in the dress 
of Iago, exclaiming as he approached him, in the lan- 
guage of Iago — 

" Nothing can or shall content my soul 
'Till I am even with him, wife for wife ; 
Or failing so, yet that I have put the Moor 
At least into a jealousy so strong, 
That judgment cannot cure." 

Flynn in self-defence grabbed the fire poker and struck 
Booth in the face, breaking his nose ! Flynn ever 
regretted the act, and would actually shed tears whenever 
allusion was made to the affair, for he absolutely idolized 
Booth. 




ANDREW JACKSON ALLEN, 

Old Costumer of Edwin Forrest, in a Favorite Character. 



CHAPTER XXXI. 

Dummy Allen— Forrest's Costumer. 

Andrew Jackson Allen, from the days of the old Green 
Street Theatre until his final exit from life's busy stage, was 
well known to the citizens of Albany, He was born in 
the city of New York, A. D., 1788, and his deafness was 
occasioned by a severe cold at sea. Dummy, as he was fa- 
miliarly called, was a costumer, but occasionally acted. 
His taste and experience rendered Allen au fait in 
getting up stage costumes. He accompanied Forrest 
(the Boy, as he called him), to Europe, as costumer to 
the great tragedian. A gentleman of this city meeting 
Dummy, who had borrowed 810 of him, accosted him 
with, " Mr. Allen, you would greatly oblige me by paying 
that ten dollars — I've waited a long time. 5 ' " Oh yes, de 
poy (he always called Forrest the boy), blayed berry 
well considering he was so padly subborted." " Mr. Allen, 
I'm not talking about acting, I want the $10." " I tink 
he will do petter de next time as de cast is petter." " Mr. 
Allen, will you step in at Harmony hall and take a drink ?" 
" Buch oplidged to you, I tink I will, just come from reher- 
sal, and am berry dry ! " 

Many anecdotes are told of Allen. He was (in theatri- 
cal parlance) an inveterate gag, and would manage to 
draw a house for his benefit, when everybody else 
failed. Many years ago he advertised a grand balloon ascen- 
sion from a stable on the hill, somewhere in Washington 
street. Two distinguished personages were to be the aero- 
nauts, viz: Mons. Gageremomd Madamoiselle Pussiremo; 
12 



178 General Theatrical Reminiscences. 

this announcement of course drew a crowd. The balloon- 
ists were two torn cats, dressed in the height of fashion, 
strapped tight under the balloon. The aeronauts ascended 
a short distance and then came down to mother earth, 
landing somewhere in Fox's creek, minus of life ! On all 
such occasions Dummy got the proceeds of the exhibition 
first safe in his breeches pocket ! His benefit took place at 
the Pearl Street Theatre, during Vernon's management. 
Dummy produced a grand Harlequin pantomime, acting 
"clown," for this night only, at the request of the F. F. 
A.'s. At the conclusion of the grand pantomime a balloon 
was to ascend from the back of the stage to the dome of 
the theatre, and there it was to make a "brilliant burst." 
The balloon was filled with lottery tickets, and the audi- 
ence were to draw " several valuable prizes," made of silver 
leather — (Dummy being great on the manufacture of this 
article) — invented by the beneficiare, Andrew Jackson 
Allen. A miniature balloon was hauled up with a string 
after the aforesaid excruciating pantomime was concluded. 
Some person stationed above, at a given cue, emptied a bag 
of folded bits of paper upon the heads of the audience — 
all blanks! Dummy, at this time, was snugly at home, 
enjoying golden dreams in the arms of Morpheus. 



Dummy Allen's Virginia G-ag. 

Sol. Smith, in his reminiscences, relates many anecdotes 
of Allen. Dummy was hard up at a small town in 
the valley of Virginia. His silver leather had become 
exhausted, and so he determined to give the Virginians 
an invaluable treat, viz : a grand balloon ascension, 
assisted by Gageremo, &c. A great rush of people 
from the surrounding mountains was the resuic. Such an 
exhibition had never been seen in those parts before, or — 
since! The balloon was about to be inflated, when Dum- 
my, to his horror, discovered several rents in the paper! 



General Theatrical Reminiscences. 179 

Presence of mind, and a tight grip npon the proceeds 
never forsook the inventor of silver leather. Dummy 
mounted a cider barrel, and informed the multitude that 
certain chemicals had become exhausted, and that, for the 
success of the balloon and the daring navigators, it was 
necessary for him to post off to the next village to pro- 
cure some of those important ingredients that his gas re- 
quired. He appealed to them as "Virginians, the noble 
descendants of Pocahontas, to wait one hour for his re- 
turn. He should ever feel proud, as the father of the 
American stage, for the kindness he had received from the 
most noble race America had ever produced," i.e., Virgin- 
ians. Dummy started for the chemicals, on horseback, 
exclaiming, as he waved his hand, " Bum Vivimus Dum- 
meromo /" It is needless to say the father of the American 
stage outstripped the far-famed Johnny Gilpin. After 
riding many miles he made a halt, and from a high moun- 
tain had a fine view of the village he had recently de- 
parted from. Dummy had an impediment in his speech, 
and spoke like a person having a severe attack of influ- 
enza. In relating this incident, he said, " It was the dab- 
dest fide sight he ever seed. The hubbug'd ad disappoidted 
fellows burdt the lost bagdificedt ballood ever codstruc- 
ted. The fire shootig up to the horrizod was sublibe." The 
father of the American stage never again visited the de- 
scendants of Pocahontas in that section of Virginia. 

Allen was a great admirer of General Jackson. He de- 
clared that it was through his (Allen's) influence that the 
people of the United States made the General president. 
Dummy was a great epicure. He kept bachelor hall, and 
took the world easy ; he invented many fancy dishes, two 
in particular, which he called calapash and calapee. 
These he served to his customers at his eating house he 
called the Divan, in Dean street, in this city. The cala- 
pash was made of ancient cheese, codfish, onions, mustard, 
rum and wine. The calapee was the same, with the addi- 



180 General Theatrical Eeminiscences. 

tion of cabbage. Behind the bar was to be seen hanging 
to the wall the " identical Kichard's dress worn by George 
Frederick Cooke, the great tragedian ;" but this, however, 
it was strongly suspected, was one of Dummy's innumer- 
able gags, as some of his silver leather was plainly to be 
seen sewed to the dress! In his admirable History of the 
American Stage, Mr. Durang tells numerous anecdotes 
of Allen. A characteristic anecdote, showing how he 
served up turtle soup for the epicures of Albany, may be 
found in the Annals of Albang, vol. v, p. 276. 

Dummy had a wonderful penchant for u running up a 
score" among his acquaintances. He had borrowed a 
sum of money from an old friend in Green street, who 
dunned Dummy for it whenever he met him, but was al- 
ways put off with some plausible excuse — he must "wait 
for his benefit," or for something else to " turn up," when 
it would certainly be paid. Passing in Green street one 
morning, Dummy on one side and his creditor on the 
other side, opposite Bement's Eecess, the creditor hailed 
and beckoned to Dummy to come over the street. It was 
a peculiar trait with Dummy, when dunned, to feign more 
than his usual deafness. "I say," said creditor, "Mr. 
Allen, can't you pay that little score" now?" Dummy, in 
the coolest and politest manner possible, replied, "Tank 
you, tank you, I nebber takes any ding (thing) pefore 
preakfast!" and marched on. 



CHAPTER XXXII. 

Capt. Page's Circus. 

Oapfc. Page opened a circus in Beaver street, between 
Green and South Market streets, in 1829-30. John Simp- 
son kept a billiard saloon in the rear of the circus. At 
the house of Simpson many a sparring exhibition took 
place. Jim Sandford and Bill Belong taught the manly 
art at Simpson's. Delong is still living; he has been an 
officer in the Fifth ward, Philadelphia, for many years, 
and is much respected by all political parties, as a worthy, 
upright man. Delong was an excellent boxer, and a 
splendidly formed man. Sandford was a small man, but 
as tough as Sayers. Among the fancy at Simpson's was 
Harry Webb, a Herculean figure as finely put together 
as a marble statue, and heaven protect him that received 
a fair dose of Harry's bunch of fives. Then there was 
Harry Jewell, cousin of Joe, now the superintendent 
of the Point Breeze Course, Philadelphia. Uncle Joe has 
Mien off some in weight — from 275 pounds to 390 in his 
dancing pumps! Charley Low and Jewell set to at Simp- 
son's one night. Charley received a tremendous teller 
from Jewell over the " conck." Camphor and brandy were 
in active demand for some minutes after that. 

Capt. Page's company went on a tour to Lower Canada. 
In a wooden building, situated on McGill street, Mon- 
treal, a mob nearly tore his circus down. The time-worn 
circus play of Billy Button, the Unfortunate Tailor, was 
the sole cause of the riot. At that time there were nun- 



182 General Theatrical Reminiscences. 

dreds of Irish tailors in Montreal, and they imagined the 
production of Billy Button was an insult to their trade, 
and all connected with it. The enraged tailors, led on 
by Captain DeGrady, gave the fearful war cry. Old West 
had just entered the ring in the character of Billy But- 
ton, when showers of brickbats from all directions greeted 
him. The war then began in good earnest, and was 
kept up for days and nights. The contending parties, 
the tailors and the Billy Buttonites, contested every inch 
of ground. Button met the foe, and they were his. The 
tailors got awfully beaten by the Canucks, who were fur- 
nished by the citizens with ammunition. Barrels of rum, 
with their heads knocked in, were swallowed in less than 
no time. By the friends of 'Button these barrels were 
placed in the centre of McGili street. Several persons 
were killed, among the number a Mr. Lyman, a very esti- 
mable citizen. The military were finally called out and 
peace and quiet restored. The circus embarked for Que- 
bec, where the riot was renewed with redoubled fury, but 
the military being on the alert it was promptly put down. 
A number of the rioters were transported, and Billy But- 
ton was transported, but with joy I 



Page's Dramatic Company. 

Page had a fair theatrical company with his circus. It 
consisted of Harry Knight, Wells and sister, afterwards 
John Sefton's wife, and later Mrs. Russell, the great tragic 
actress of the Arch Street Theatre, Philadelphia, Miss 
Emery, George Gale (Mazeppa), Tom Grierson, Shin- 
notti, Barney Burnes, Leslie, Shadgut (what a name !), 
John Kent and his sisters, Helen and Eliza, and many 
others. Page opened the Theatre Royal, Montreal, and 
went by the board. I believe this company are all dead, 
with perhaps three or four exceptions. Page knew no 
such word as fail. He visited every part of the globe 



General Theatrical Reminiscences. 183 

that white men have seen. He searched the jungles of 
the East Indies for show stock. He penetrated the 
regions of scorching Africa, searched all the fairs of 
Europe, and furnished for the American market more 
" wliat is it," in the shape of giants, red-eyed negroes, 
glass spinners, and other sights too numerous to speak 
of, than any other showman, not excepting P. T. Bar- 
num. The last I saw of the captain was in Philadel- 
phia, and he was far advanced in the "sere and yellow 
leaf." He had just returned from South America with the 
Aztec children, and was on his way to Europe. The cap- 
tain was a Yankee, had great knowledge of the world, 
could speak several languages, was full of enterprise, but 
dame fortune seldom smiled upon him. 

The following appeared in one of the Albany papers in 
1857: "J. W. Bancker, formerly Master Bancker, of the 
North Pearl Street Circus, called on us yesterday, and 
posted us up in a few reminiscences. Bancker first rode 
in this city in 1823, in a circus located on the corner of 
Eagle and State streets. The North Pearl Street Circus 
opened in 1826. Bancker belonged to the first company, 
and rode the first horse and threw the first sommersault 
in the house. The company consisted of the following 
persons: Manager, Sam. Parsons; Treasurer, Edward 
Tucker; Assistant Manager, Sam. McCracken ; Clown, 
William Gates; Hiding Master, J. W. Bancker; Riders, 
Dan. Champlin, Jacob Burton, Edward Carter, Alexander 
Downie and John Shay. Miss Mary Robinson was the 
leading melo-dramatic actress. Miss R. was a very tal- 
ented woman, and played her parts with great power. 
Downie died in the West Indies. Gates attached himself 
to the Bowery Theatre, and died in New York in 1843. 
Champlin died in Mobile. Burton joined the army, and 
died in Florida. Carter is also dead. McCracken died in 
Springfield, Ohio ; he married a Miss Brown, who Jived 
opposite the circus, in North Pearl street. Of the com- 



184 General Theatrical Eeminiscences. 

pany existing in 1826, Bancker is the only one living. 
The North Pearl Street Circus was built by Sam. Parsons, 
and cost $22,000, horses included. It failed to pay in 
1829, and then passed into the hands of S. J. Penniman. 
Mr. Penniman sold it to the Methodists, who have since 
used it as a church." 



CHAPTER XXXIII. 

Jim Bancker— John G-ossin, the Clown. 

Jim Bancker opened a cireus, in 1831, on the same spot 
in Beaver street that Page had occupied, with a very good 
company. Among the performers was a yonng man by 
the name of John "Weaver, Herculean in appearance, beau- 
tifully formed, and called the American Sampson. He 
performed some astonishing feats of strength. A native 
of Philadelphia, he was much respected for his amiable 
disposition and kindness of heart. He had become en- 
gaged to a young lady of Philadelphia, and was to aban- 
don his profession forever the following fall, and marry a 
young and beautiful wife. The company started on its 
tour. At that day in some of the Western towns there 
was great difficulty in procuring a license. There ap- 
peared to be a very bitter antipathy by the religious com- 
munity to such amusements — the exercise of horsemanship 
being considered demoralizing and a sin ! Many lawsuits 
were the result, but the circus non-suited the citizens. 
In some instances the commonwealth contrived to con- 
vince the jury that these wicked shows were prompted 
by the devil, and a mist was cast before the eyes of the 
audience by the incantations of the showman. The stand- 
ing on a horse, when at full speed, was deemed by them 
a base deception — a load-stone being used, they said, to 
make the man stick to his back! The clown was one 
of the devil's imps, etcetera ; but the disciples of blue laws 
failed to convince the jury. Theatricals fared no better in 



186 General Theatrical Reminiscences. 

some of these benighted regions. Bancker's company 
made a halt at a small village for two days. "Witchcraft 
and law-breaking were charged against the unfortunate 
performers. Weaver was about to be arrested, but not 
wishing to be detained on the eve of embarking home- 
ward to Philadelphia, he made his escape, with the inten- 
tion of proceeding to the next county, where he could be 
safe; but the night being dark and rainy, he lost his way 
in the woods — becoming bewildered, he was not found for 
two days. The weather being cold and Weaver thinly 
clad, he took a violent cold, which developed into bilious 
fever, and in a few days after he died at Fort Niagara, and 
was buried in an old church-yard on the banks of Lake 
Ontario. 



Vail's Great Feat— A Fearful Dilemma. 

John Grpssin, about this time, joined Bancker's troupe 
in Little York, Upper Canada. John was a native of 
Pittsburgh, Pa. In this company was also a person by 
the name of Vail, a powerful man, and a native of Mans- 
field, Ohio. He was the successor of Weaver in feats of 
strength. His early days were occupied as a boatman on 
the Western rivers, and he had had many hairbreadth es- 
capes from death. He performed his feats on a pole that 
supported the large pavilion. It was crowded one night 
in a town in Indiana, when Vail was suspended by his 
knees to the pole, some ten feet above the ground ; in his 
hands he held two anvils, and by his teeth he held several 
fifty-six pound weights. At this moment one of those 
fearful tornadoes that we so often hear of in the west, 
suddenly came up; the pavilion, was blown to atoms, the 
seats fell with a fearful crash, the howling of the wind 
and the screams of women and children, were terrible. 
The pole on which Vail was suspended broke, and he 
fell, with the great weight of iron he was grasping, 



General Theatrical Reminiscences. 187 

head foremost to the ground. He was picked up for 
dead among the mass of weights, but though badly in- 
jured, he survived his fearful fall. A number of persons 
were killed. Vail had a fortunate escape from death dur- 
ing an earthquake at Martinique, in the West Indies. 
The sides of the house that he occupied fell outwards, just 
as he was in the act of leaping from one of the win- 
dows. He fell safely in the street, the windoiv frame 
passing over his head and shoulders! So close was he to 
the falling mass that his foot became entangled in the 
falling beams, and drew the boot from his leg, as he 
said, with a patent boot-jack! After this occurrence he 
was shipwrecked. He abandoned the profession, and be- 
came very wealthy at one of the West India islands — Port 
Royal. He married a quadroon, as rich as Croesus, and 
as lovely as a sunflower, and is now located at Yankee 
Station, California, and is known aS Squire Vail, Justice 
of the Peace. 

Young Calahan also amused the Albanians with his 
elegant and superb horsemanship. He was a native of 
the city of New York. Most of his days were passed in 
Mexico and South America. Calahan died in New York. 

Joe Blackburn also performed on the Beaver street lot. 
Blackburn was the clown of the American arena. He was 
a man of extraordinary ability; possessed a good edu- 
cation, and figured as a poet of no ordinary pretensions. 
His letters from Europe, published in the New York 
Spirit of the Times, and other popular journals of the 
day, were perused with much interest. Blackburn was a 
Baltimorean. His uncle left him his entire fortune; but, 
poor fellow, while on his way from New Orleans to Balti- 
more, in 1841, to inherit his wealth, he sickened and died 
on board the steamer Express Mail, near Horse Shoe Bend, 
and was buried at Memphis, Tenn. 



CHAPTER XXXIV. 

" Nosey" Phillips. 

The old North Pearl Street Amphitheatre began to give 
up the ghost about the year 1828. Nosey Phillips tried 
his hand in this place as well as at the South Pearl Street 
Theatre. Like all other projects that Nosey undertook, 
somebody was the sufferer, for he was a mad wag. 
His style of financiering was peculiar to himself. He 
was the sole author and inventor of many shrewd 
and curious dodges* Moses — that was his Christian 
name — procured an excellent company from New 
York, and opened a theatre in Providence, E. I. 
With the aid of Providence he pocketed quite 
a sum. He owed several small scores to the inhabitants, 
as well as the actors, but promised that all bills against 
him should be liquidated on Monday, without fail. The 
bills of the day were issued, the lamps all trimmed, 
the actors all up in their parts, and sundry creditors 
awaited the important moment; but the eagle-eyed, as 
well as eagle-nosed Nosey, had fled to New York with all 
the rocks in his fob ! Arriving in that city, he had no 
difficulty in finding an old sufferer to whom he owed 
a long standing bill. Nosey, knowing that in a few 
hours he would be seized for debt and placed in du- 
rance vile, (there was a law for imprisonment for debt 
in those days,) induced said old sufferer to sue him. 
This he did. Nosey acknowledged the debt and was 
committed to jail. The enraged creditors from Ehode 
Island arrived only to be disappointed ; Nosey was already 



General Theatrical Reminiscences. 189 

caged for debt. In a few days all excitement had sub- 
sided, Nosey settled the score with his lucky friend, 
and once more he buckled on his armor for fresh ad- 
ventures. Cincinnati was the scene of many of Nosey's 
jokes. Here he enlivened the audience of Fog & Stickney's 
Circus by enacting the clown in a time worn scene called 
the Peasants Frolic. Nosey was astride a beautiful black 
horse telling some stereotyped Joe Millers, when all of a 
sudden the horse flew around the ring as if a sky-rocket 
was fast to his tail. The ring master could not stop him. 
Nosey's lungs were brought into requisition — he appealed 
to the man with the whip, at the top of his voice, " Stop 
him, for God's sake!" "A good joke," says the ring mas- 
ter. " Go it, Nosey," yelled the boys. Nosey went it loose, 
heels over head into the pit, striking an honest Jack tar 
in the eye with his hand. Nosey's skull cap and a small 
portion of his scalp were missing. The sailor was enraged 
to find his eye blackened. " Well," says Jack, " that fel- 
low with a big handle on his mug is the d — m'st wust clown 
I ever did see." Nosey left the ring as soon as possible, as 
his tights had come down. A law suit was the result; 
but the ring master declared it was a joke, and, besides, 
that he could not stop the horse. Nosey was accordingly 
non-suited. 

His grand wind up, however, took place in New Orleans, 
in 1842. Caldwell, manager of the St. Charles Theatre, 
despatched an agent to New York with full power to 
engage the best talent to be found, and in particular to 
engage Aaron Phillips — who was a good actor and a worthy 
man — for his prompter. Caldwell's agent being a stranger 
in the capacity of theatrical negotiator, committed a sad 
mistake. He wrote a note, directing the same to Mr. 
Phillips, comedian. Nosey's hawk-eye discovered the let- 
ter and received the contents with unspeakable joy, but 
mum was the word. He certainly was Mr. Phillips, come- 
dian, and was a prompter. The agent never was instructed 



190 Genekal Theatrical Reminiscences. 

to engage any other person for prompter but Mr. Phillips, 
hence the mistake. Nosey was placed under binding arti- 
cles of agreement, which he signed. The other party agreed 
to give said Phillips the sum of $30 per week, and a benefit 
at the expiration of six months. What was the surprise 
of Caldwell, the actors, and everybody, when the immortal 
Nosey arrived in New Orleans! Caldwell was in for it. 
Nosey was sent to Mobile, but he got all the agreement 
called for. 

Phillips' name stands in Scott's Albany Directory of 1828, 
as "Nosey." He was one of the children of Israel. Phil- 
lips and old "Jack Barnes," the low comedian of the Park 
Theatre, New York, used to play the " Two Dromios," and 
most decidedly resembled each other in features, figures, 
and voice. Barnes' nose was not quite as prominent and 
" hookey" as Nosey's nose, but by the application of a lit- 
tle wax, the difference was scarcely noticeable, especially 
by those not personally acquainted with this peculiarity. 

The last days of the North Pearl Street Amphitheatre 
was rather an up hill business. Isaac 0. Davis was manager, 
I believe. At the grand finale, old Turnbull, father of 
Julia the danseuse, produced an abolition drama, fall of 
woolly-headism. I have forgotten the name of the piece. 
It was quite affecting, however ; the author himself cried 
in some of the most tender points. It had a fine run of 
one evening! For some cause or other the manager 



on the next evening was obliged, as he said, to dismiss the 
audience in consequence of some of the artists rebelling 
and refusing to play. While the manager was making 
this moving speech the ticket seller smelt a good sized rat, 
and there being just $18 due him, he blew out the lights 
in the office and vamosed with all the funds, $18 — all in 
small change. The manager threw himself upon the kind 
indulgence of the audience, and informed them that they 
could step to the box office and have the money refunded 
them ! The ticket seller was non est, and a free fight was 



General Theatrical Reminiscences. 191 

the result. The chandelier was broken, as well as the 
manager, who made his escape through a seiver ! The 
scene ended by old John Meigs, high constable, and his 
posse capturing some dozen canalers and two soldiers from 
the rendezvous. The old theatre soon wound up its event- 
ful career. 



CHAPTER XXXV. 

The history of the Albany theatre, as will have been 
seen, is a significant history of the conversion of play 
houses into churches — the only three edifices erected ex- 
pressly for dramatic purposes having had a very short ca- 
reer as such, and then their walls echoed with a different 
class of sounds. Even the wooden building erected in Or- 
chard street, by the Histrionic Society, was converted into 
a Baptist church. 

Bill Lawson was engaged here about this time. Lawson 
is spoken of in Durang's History of the Stage. He came 
to the United States with West, the bell ringer. Lawson 
was a fine looking man. Though he could neither read nor 
write, he could play the part of a sailor in excellent style. 
His Mat Mizzen was the best ever produced on the Ameri- 
can stage in that day. He played Joe Steadfast, in the 
Turnpike Gate, equally well. Joe was the first victim to 
the cholera in the summer of 1832 ; he died in New York 
in a wretched cellar in Catharine street. Near the same lo- 
cality, and equally as miserable, Miss Emery, the great 
English tragic actress, died. Her acting of Bianca was a 
most thrilling picture. Her untimely end was much 
regretted. 

Yankee Hill (George) was a native of New England. 
His father was a teacher of music, tuned pianos, &c, in 
Philadelphia, for many years; he was very poor, but 
struggling hard through life, managed to gain a livelihood. 
George, or Yankee Hill, was a paper hanger by trade, and 
worked for a long time in Albany. 



General Theatrical Reminiscences. 193 

Dan Marble, the Yankee. 

As I am speaking of Yankee characters, I will say a few 
words of the lamented Dan Marble. I think he was born 
in New York. He made his first appearance at the old 
Chatham, in the farce of "Fortune's Frolic," piaying Robin 
Roughead. He was greatly annoyed with the toothache 
that night, and what, with the pain of the tooth and the first 
smell of the foot lights, the gaze of the fiddlers, and a view of 
the audience, he was at first quite bewildered. He finally 
frightened the toothache away and played the part as well 
as if he had been an old stager. Dan was full of fun ; he 
told many original stories thatnvould draw a laugh from 
the ghost of old Job Gould. He was an excellent come- 
dian, and an immense favorite wherever he went. He died 
in Louisville, Ky. His " benefit " was to have taken place 
the night he died. The bill read as follows : " Benefit 
and last appearance of Dan Marble. This evening will 
be presented ' Cure for the Cholera P " Poor Dan died 
of cholera on the same night ! 
13 



CHAPTER XXXVI. 

Nichols' Amphitheatre. 

Probably one of the largest and best appointed Circuses 
or Amphitheatres ever organized in this country, was 
that of Sara. Nichols, on Dallius street, in this city, which 
was opened December 5, 1840. Alfred B. Street, Esq., 
wrote the opening address (a $50 prize essay), which was 
pronounced an admirable production. The building cov- 
ered over an acre of ground, was fitted up on a most 
elegant and elaborate scale, and would comfortably accom- 
modate three thousand persons. The dramatic and eques- 
trian troupes were ample, composed of the very best per- 
formers in the country. These companies consisted in 
part, of the following: Jackson, manager; Anderson, Hall, 
Plumer, the celebrated vocalist; Dickinson, Needham, 
Hardy, Mrs. Nichols, Mrs. M. Anderson, playing juvenile 
male characters. The equestrian troupe Was composed of 
the following: Aymar, John Whitaker, Henry Madigan, 
"William Nichols, Horace Nichols, who married Mrs. Pres- 
ton, John May, John Gossin, George Knapp, clowns. 

The celebrated Kent bugle player, Ned Kendall, and his 
splendid band, comprised the orchestra. The spectacles, 
such as El Hyder, St. George and the Dragon, &c, pro- 
duced, were magnificent, and gotten up regardless of ex- 
pense. This establishment was liberally patronized not 
only by the Albany public, but by Trojans and strangers 
generally. It was not a little surprising to witness the 
large numbers of the upper class of society, that nightly 
graced the boxes ; and it was not unfrequently the case that 



General Theatrical Reminiscences. 195 

a line of carriages would occupy the street from Lydius, 
now Madison avenue, to the amphitheatre. For the two 
first j'ears this enterprise proved a great success, after 
which an evident decline was noticeable. Finally the 
equestrian department was withdrawn, leaving only a dra- 
matic company, under the management of Jackson, who 
was familiarly called " Black Jack." Near the winding 
up of the concern, Forrest and the "magnificent'' Jose- 
phine Clifton performed a week's engagement, but the 
weather being intensely warm the attendance was very 
Light. It was during the " heated spell " in July or Au- 
gust, they appeared. This establishment, like the old 
Green Street Theatre, at last came to " base purposes," be- 
ing converted into a furnace or pottery! The dramatic 
and equestrian companies, as well as the magnificent the- 
atres and amphitheatres that Albany could once boast of, 
could not be equaled by any city of its size in either hem- 
isphere — a fact which has been frequently admitted by 
old and experienced stagers from Europe who have ap- 
peared in our theatres and amphitheatres from time to 
time. 



CHAPTER XXXVII. 

Paddy Burns and His Bugle. 

In the orchestra of the North Pearl Street Amphithea- 
tre, was to be seen and heard a remarkable personage — his 
name was Paddy Burns, and he was one of the best Kent 
buglers of that day. Paddy, of course, was a son of the 
Emerald Isle; he was in the British service most of his 
days, and his regiment was stationed opposite Fort Niagara, 
Canada. 

Paddy had made up his mind "solid," as he said, to 
Yankeeize himself. Uncle Sam's dominions were on the 
opposite side of the Niagara river, only some nine or ten 
miles below Niagara Falls. Burns w T as suspicioned, and 
consequently was watched so closely that an attempt 
to escape was a dangerous experiment; but he tried it and 
succeeded. One fine morning Paddy held an innocent 
confab with the sentinel, whose station was near the bank 
of the river. A few drops of the "crathur" cemented the 
bonds of friendship closer than wax ; the sentinel got 
three sheets in the wind, while Paddy Burns was as sober 
as a j uclge. He managed, unperceived, to pour some of the 
liquor into the vigilant soldier's gun. Paddy then re- 
tired from the presence of his friend, behind a rock, tied 
his bugle on his neck, plunged in the river, and had 
swam a great distance from the shore before he was dis- 
covered. The alarm was given, the sentinel's gun flashed 
in the pan, and Paddy arrived safe in the "land of the 



General Theatrical Eemixiscexces. 197 

free and the home of the brave," amid the loud huzzas of 
the spectators on the American shore, who had watched 
the proceedings with the most intense anxiety. Burns 
then mounted a high elevation and played Yankee Doodle 
and Hail Columbia in the very teeth of John Bull! 
" Paddy " was liked by all who knew him. He died in 
Ohio. At the temporary building on the corner of Green 
and Division streets (old Bi ven's Theatre), Mr. and Mrs. 
H. A. Williams played. They were both eminent perform- 
ers. Mrs. Williams, after Harry's death, married May- 
wood, the Scotch actor. There was an actor, an Eng- 
lishman named Eussell, who performed here; he had 
no fear of strychnine; he was never seen sober, and he 
became completely acclimated to the hissing process. Eus- 
sell was famous for addressing the audience; he made 
apologies every night. Mrs. Williams was playing " Jane 
Shore ; " Eussell was to kneel over the dead body in the 
last scene, but being " top heavy," he fell with all his 
weight on the corpse of Jane Shore. This brought the 
dead Shore to her feet. Eussell, as usual, attempted an 
apology. Stale eggs went up from ten cents per dozen to 
81.50. Eussell made a stampede ! 

Mr. Forrest's Letter. 

The following is a copy of a letter from Mr. Forrest, 
while fulflling a professional engagement at Crosby's 
Opera House, Chicago, acknowledging the receipt of 
copies of Theatrical Eeminiscences occasionally published 
by us in the Morning Express : 

" Chicago, Jan. 25, 1866. 
" Hexry D. Stoxe, Esq. — 

"Dear Sir — The several copies of Theatrical Eemini- 
scences, handed me by your young friend, were received 
with much satisfaction. The perusal of them afforded me 



198 General Theatrical Reminiscences. 

great pleasure, as they brought vividly to mind scenes 
long since blotted from memory. I find, too, the facts 
and incidents set forth remarkably correct, as far as my 
recollection serves me. Thanking you for your many 
kind considerations, 

" Believe me, as ever, 

"Yours, &c, 

"EDWIN FORREST." 



CHAPTER XXXVIII. 

. John Augustus Stone, the American Dramatic 
Author. 

At the time of the death of this eminent author and 
actor, which occurred in Philadelphia, in 1834, the follow- 
ing affecting tribute appeared in the Albany Daily Neivs. 
The News was edited by James Hunter, Esq., one of Edwin 
Forrest's warmest friends, and who devoted much of his 
time closeted with young Forrest, instructing him in 
Shakspeare — imparting to him that knowledge of the great 
dramatic poet which was the result of long and ripe ex- 
perience. Mr. Hunter was one of the most experienced 
theatrical critics in this country. 

"Death of Jonisr Augustus Sto^e. — Within a few 
days past the public has been made acquainted with the 
melancholy fact that John Augustus Stone is no more ! 
The tidings were received in this city with unfeigned re- 
gret, and the friends of the drama who knew him so well 
when living, at the first intelligence of his departure from 
among us, retired, with melting hearts, to shed the bitter 
tears of sorrow. The news of his exit cast a solemnity 
and gloom over the countenances of a large circle of his 
acquaintances in our city, far surpassing any providential 
affliction of the kind that ever preceded it. The success- 
ful effort of Mr. Stone to elevate and establish permanently 



200 General Theatrical Reminiscences. 

the dramatic character of our country, will ever be remem- 
bered. 4 

" Under the patronage of Forrest, Mr. Stone has con- 
tributed more, both as author and performer, to raise the 
character of the stage, than any other native American. 
He was the author of several pieces which have withstood 
the scrutiny of the severest critics and rivals in the 
country. Among those which have been thus produced 
by him and passed through the fiery ordeal, are these : — 

" i Fauntleroy ; .? tragedy; acted in Charleston. 'Meta- 
mora ; ' tragedy ; acted in New York with great success. 
[Edwin Forrest paid the author $500 for this play.] ' La 
Rogue the Regicide ; ' acted in Charleston. ' The Demo- 
niac,' 'Tancred/ 'Touretoun/ 'The Restoration, or the 
'Diamond Cross" — all pieces of distinguished merit. 
' Banker of Rouen/ and ' Golden Fleece/ or ' The Yankee 
in Italy/ (written for Hill.) At the time of his death, he 
was engaged in superintending the production of the 
' Champion of Freedom/ which he re- wrote from the An- 
cient Briton. 

"Although we lament the loss, and sincerely repine at 
his sudden death, yet we rejoice that he lived to bequeath 
such a lasting legacy to his country's fame. He has ac- 
quitted himself with the highest honor, and performed 
the task which was allotted him with immortal credit. 
Years may elapse before another shall grasp his gifted pen ; 
and then it will only be a continuation of the great dra- 
matic work which John Augustus Stone commenced. 

" Peace be with him ; his earthly 
Light is now extinguished ; 
May his friends weed the green grass 
"Which waves o'er his grave ; and his 
Enemies point in silence to his Tomb." 

To our own knowledge it was the declared intention of 
Mr. Forrest to erect a suitable monument to the mem- 



General Theatrical Reminiscences. 201 

ory of Mr. Stone. In fact, the preliminary steps were 
well advanced soon after the great author's death, but 
whether the object was ever entirely accomplished, Ave have 
not been advised. There can be no doubt, however, but 
Mr. Forrest carried out this praiseworthy object to the 
very letter. 



CHAPTER XXXIX. 

DRAMATIC PRODIGIES. 

Master Payne, 

The First Dramatic Prodigy in this Country — He Plays Rolla 
when a Mere Child — Laughable Anecdote about his play- 
ing Rolla — Miss J. M. Davenport, now Mrs. F. W. Lander 
— Miss Louise Lane, now Mrs. Drew, Manageress of the 
Philadelphia Arch Street Theatre — Clara Fisher, now 
Mrs. Maedar — Maggy Mitchell — Lucille Western — Mary 
Gannon — Susan and Kate Denin — The Misses Parkers — 
Little Nell, and a host of other Prodigies. 

About the first dramatic prodigy known in America, 
was Master Payne, who appeared at Wood and Warren's 
Theatre, Philadelphia, in 1806. In " Wood's ."Recollections 
of the Stage," he refers to Payne as follows : " He ap- 
peared at that time as Young Norval, being about the age 
of Master Burke when he first came out as a prodigy. 
Norval was followed by Hamlet, Romeo, Octavian, and 
Rolla, nightly playing, on an average, to $1,600 houses." 

Some very ridiculous circumstances attended Master 
Payne's performances which, from his child-like figure, a 
physical absurdity could not fail to strike an unsophisti- 
cated auditor. 

A learned judge, who, when crowded out of the boxes 
'by the ladies, sought refuge in the gallery, related the fol- 
lowing : " Master Payne was enacting Rolla while a knot 
of youngsters were sitting together, some of whom were 
not particularly interested in what was going on before 
them. They were coming to the scene in which Rolla 



General Theatrical Reminiscences. 20o 

seizes the child of Cora, who, in Master Payne's instance, 
happened to be nearly as large as Payne himself, and runs 
across the bridge with him, (a very effective scene where 
the Eolla is a large and powerful man) — one of these 
youngsters called his companions to order, and as an in- 
ducement to them to stop their talking, said, "Now, boys! 
look out ! and presently you will see one of those little 
fellows shoulder the other and run away with him over 
that plank," pointing to the bridge. 



Miss Jean M. Davenport, now the eminent actress, 
Mrs. F. W. Lander. 

At Harry Meech's Museum, many years ago, there ap- 
peared a bright, fascinating and exceedingly precocious lit- 
tle girl, doing juvenile characters, and so remarkable was 
her rendition of her various roles, that she at once won the 
very appropriate soubriquet of the " dramatic prodigy." Af- 
ter performing a very successful engagement at the Mu- 
seum, and visiting several other towns, professionally, she 
returned to this city, and at the regular theatrical season at 
the old Pearl Street Theatre, arrangements were made by a 
few friends to engage the theatre three nights for the 
" Little Prodigy." The programme of the entertainment 
was. accordingly announced, consisting of " Douglass," she 
doing " Young Norval," the i( Four Mowbrays," and the 
" Orphan of Geneva." She was supported in her efforts 
by several amateurs, members of the Histrionic and For- 
restonian societies, at that time in full operation in this 
city, who acquitted themselves in a very creditable man- 
ner. Well, as goes the old adage, " Time works wonders ;" 
as, for instance, the justly celebrated and brilliant actress, 
Mrs. Lander, nee Miss J. M. Davenport, is the lady who was 
known as the little " Dramatic Prodigy " above alluded 
to. It is a fact, not generally understood, that Charles 



204 Genekal Theatrical Reminiscences. 

Dickens, in his Nicholas Nickleby, had in his mind's eye, 
and actually selected Miss Davenport as the counterfeit 
presentment of the "infant phenomenon" in his great 
work. 

It is a somewhat remarkable fact in the annals of theat- 
ricals, that nearly, if not quite all, of the numerous dra- 
matic prodigies who have appeared within the last thirty 
or forty years, have either arisen as " stars " of the first 
magnitude, or filled prominent situations on the stage in 
stock companies. Among the juvenile aspirants for dra- 
matic distinction, and who created the greatest sensation, 
were Louise Lane (Mrs. John Drew), now the indefatiga- 
ble manageress of the Arch Street Theatre, Philadelphia, 
and who is unquestionably the finest general actress on 
the American stage. Miss J. M. Davenport (Mrs. Lander), 
Clara Fisher (Mrs. Meader), who was the first to sing in 
the drama of the "Maid of Milan," at the Pearl Street 
Theatre in this city, the popular air of "'Home, Sweet 
Home," while playing the role of Clara. 



Master Joseph Burke. 
Master Burke, in point of precocious musical and dra- 
matic talent and genius, eclipsed all the juvenile aspirants 
that ever appeared in this or any other country. Burke's 
"Dr.Pangloss," " Sir Peter Teazle," " Dr. OToole," "Ro- 
meo," " Young Norval " were performed in a manner that 
excited the wonder and admiration of the play-going pub- 
lic of the two hemispheres. One would scarcely realize 
the fact, after witnessing Burke's remarkable delineations 
of the most difficult characters at night ; characters be- 
longing to actors of riper years and longer experience — 
and the next day meeting the boy in the street cutting up 
all sorts of boyish pranks, rolling his hoop, flying his 
kite, playing marbles, etc., utterly regardless of the re- 
marks, as well as astonishment of the passing crowd, and 



General Theatrical Keminiscences. 205 

apparently unconscious of the enviable and important po- 
sition he occupied before the world. We repeat, that it 
could not be realized that this mere child, who was seen 
the night previous rendering, in the most artistic manner, 
the difficult character of Sir Peter Teazle in the " School 
for Scandal," was really the young Eoscius, Master Barke. 

Joseph, or Master Burke, was born in Dublin, Ireland, 
in 1818, and made his debut as Dr. O'Toole, in the " Irish 
Tutor," at the Hay Market Theatre, London, at the age 
of seven years. He came to this country in 1830, making 
his appearance at the New York Park Theatre in the char- 
acters of Young Norval, and as Dr. O'Toole, leading the 
orchestra after the first piece in the overture. After per- 
forming in New York, Philadelphia and Boston, he made 
his debut in 1832 or '3, at the Albany Pearl Street Theatre. 
Mr. Burke is now residing in New York, engaged in the 
profession of teacher and composer of music. He moves 
in the first circles of society in that city, honored and re- 
spected by all who know him. 

Is it not somewhat remarkable, that, with the many 
rare qualities Burke is admitted to possess — and doubtless 
the numerous advantageous opportunities presented dur- 
ing his many years of experience in female society, he 
being deemed, Avhat the ladies call, "a good catch," that 
he should so long remain a bachelor — which w r e under- 
stand he still is. 



Mrs. Fitz Williams. 

There were several other dramatic prodigies of that day 
— for instance, Mrs. Fitz Williams — her maiden name we 
have forgotten. The writer saw her in 1852, at the Hay 
Market Theatre, London ; she appeared to be as fresh, 
sprightly, and vivacious as ever, and ranked among the 
first comediennes in London. Mrs. Fitz Williams was 



200 General Theatrical Reminiscences. 

a great favorite in this country, especially in New York, 
where she performed with immense success. 

At a later day these dramatic prodigies have appeared 
in astonishingly rapid succession in the theatrical horizon. 
There is Maggie Mitchell, and Mary Gannon. Mary died 
some time since. She was for a long time the favorite at 
Wallack's Theatre, and uprotege of Harry Meech, he having 
brought her out as an infant prodigy at the Albany Mu- 
seum. There was Lucille and Helen Western — Helen is 
dead — Susie and Kate Denin, the Parker sisters, the 
beautiful and talented daughters of Joe Parker — for a 
long time low comedian at Meech's Museum; and of a 
later date still, Lotta, Leona Cavender, Little Nell, and 
half a score of others, who have met with flattering suc- 
cess as dramatic prodigies. "We believe that all of the 
above enumerated individuals are now living, with the ex- 
ception of Mary Gannon and Helen Western. 



CHAPTER XL. 

Thomas Cooper, the Celebrated Actor. 

His Kemarkable Physical Powers of Endurance— He Performs 
his Professional Journeys in a Gig from Philadelphia to 
iSTew Orleans — He offers $100 to be ferried across the Hud- 
son River in order to meet a Professional Engagement — 
His first and only failure to meet an Engagement in his 
long Theatrical career — His Last Appearance on any 
Stage, at the Pearl Street Theatre, Albany — He plays 
Damon, in which his Physical Powers fail him. 

The physical powers of endurance of this eminent actor 
were most remarkable, nay, unprecedented, as a proof of 
which we will cite one or two circumstances. He per- 
formed the journeys from Philadelphia to New Orleans 
driving a tandem and handling the "ribbons " himself, to 
fulfil professional engagements, in an old style gig, suffi- 
ciently ample to contain his trunks and wardrobe. He 
frequently played at the Park Theatre, New York, and at 
the Walnut Street Theatre, Philadelphia, alternate nights 
in the week, performing his journey, and never failing to 
" come to time," which was considered through the heavy 
sandy roads of New Jersey, a Herculean performance. 
It would be deemed rather a rare occurrence of the 
present day for a star actor, with all the improved facili- 
ties of travel, to accomplish such a feat, riding that dis- 
tance, and playing an arduous character the same evening. 
But this Cooper would do with little apparent physical 
exhaustion. Many silk stocking stars of the present day, 
would deem it rather an arduous task, to accomplish the 



208 General Theatrical Reminiscences. 

journeys Cooper did, even if in one of the splendid draw- 
ing-room cars in present use. As stated above, he never 
failed to meet his engagement, with but one exception, and 
that through no fault of his. While performing in New 
York and Philadelphia alternately, late in the fall of the 
year, the North river between New York and Jersey City 
became so blocked by an immense field of floating ice as to 
prevent the passage of the ferry boats. Cooper finding it 
impossible to pursue his journey, under these difficulties, 
made arrangements with the captain of a small vessel ply- 
ing between New York and Staten Island, to convey him 
to Jersey City — the agreement being that Cooper pay the 
skipper $100 if he successfully landed him on the Jersey 
shore, and $50 if he failed. They had proceeded about 
midway of the stream, when, finding it impossible to go 
farther, the vessel put back to New York, the skipper re- 
ceiving his $50, as per agreement. 

Cooper was, probably, taking him all in all, the most 
remarkable actor in the two hemispheres. Besides the 
long and fatiguing journeys performed in his gig, and 
playing his most arduous roles many consecutive nights, 
he was in the constant practice of making journeys of 
miles on foot during an engagement, merely for exercise, 
as he would say. In his habits, he was scrupulously tem- 
perate, using neither spirituous liquor or tobacco in any 
shape — being also exceedingly frugal in his diet. For 
promptitude in fulfiling a professional engagement, he 
stood without a rival. He was never known to fail to meet 
an engagement, no matter what distance he had to travel, 
or however unfavorable the weather, except in the one in- 
stance above alluded to. 

REMAINING TOO LONG ON THE STAGE. 

Cooper, like Forrest, made a great mistake in remaining 
too long on the stage. They both should have retired be- 
fore their well-earned laurels began to wither ; before the 



General Theatrical Reminiscences. 209 

"sere and yellow leaf of time" began to tell upon their 
physical powers. Cooper made his last appearance upon 
the stage, as did also Forrest, at the Albany Pearl Street 
Theatre. Cooper, in impersonating at this time his favor- 
ite character of Damon, produced a very affecting scene, 
exciting the deepest sorrow among his old admirers. It 
was plain to be seen that his physical powers were rapidly 
failing. In the scene where he rushes in at the very " nick 
of time" to save his friend Pythias from the headsman's 
axe, he made an attempt to leap upon the scaffold, but his 
physical energies failing he became completely exhausted. 
It was indeed a sorry sight! 

Soon after Cooper retired from the stage, he was ap- 
pointed military store keeper at the arsenal at Frankfort, 
Pa. He was afterwards surveyor of the ports of New 
York and Philadelphia, receiving his appointment from 
president John Tyler, whose son Robert married Cooper's 
daughter, then quite an attractive young actress. Cooper 
died in 1849, aged 82 years. 
14 



CHAPTER XLI. 

G-eorge Frederick Cooke, and John Kemble, 

COMPARED BY A DISTINGUISHED GERMAN CRITIC — COOKE'S MARRIAGE. 

A German gentleman, after having traveled in different 
parts of the world, arrived in England. He resided there 
several years, and on his return to Germany, published 
in a book his observations to his countrymen. He expa- 
tiated largely on the English stage, and of George Fred- 
erick Cooke and John Kemble — the greatest actors of that 
time. He said: — "The countenance of Kemble was the 
most noble and refined, but the muscles were not so much 
at command as those of Cooke, who was a first rate come- 
dian as well as tragedian. Both were excellent in the 
gradual changes of the countenance, in which the inward 
emotions of the soul are depicted and interwoven, as they 
flow from the mind. In this excellence, the great German 
actor Issland, and the renowned French actors, Talma and 
Lafond, are far inferior to them. Kemble was a very grace- 
ful, manly figure, perfectly made ; his naturally command- 
ing stature appeared extremely dignified in every pictur- 
esque position ; and he studied such effects most assidu- 
ously. His face was a fine oval, and one of the noblest 
ever seen on the stage, exhibiting a remarkably handsome 
nose, and a well-formed and closed mouth, his fiery and 
somewhat romantic eyes shadowed by bushy eyebrows, re- 
treated, as it were, and his front open and a little vaulted ; 
his chin prominent and a little pointed, and his features so 
softly interwoven that no deeply marked lines were per- 



General Theatrical Reminiscences. 211 

ceptible. His physiognomy, indeed, commands respect at 
first sight, since it denotes, in the most expressive man- 
ner, a man of refined sentiment, enlightened mind, and 
correct judgment. Without the romantic look in his eyes, 
the face of Kemble would be that of a well-bred, cold and 
selfish man of the world; but this look, from which an 
ardent fancy emanates, softens the point of the chin and 
the closeness of the mouth. He had a pleasing voice, but 
feeble; of small compass, but of great depth. This was 
the greatest natural impediment with which he, to whom 
Nature had been thus bountiful, had still to contend. 

" Cooke did not possess the elegant figure of Kemble, 
but his countenance beamed with great expression. His 
most prominent features were along and somewhat hooked 
nose, a pair of fiery and expressive eyes, a lofty and some- 
what arched front, and the lines of his countenance, the 
muscles which move the lips, were pointedly marked. His 
countenance is certainly not so dignified as that of Kem- 
ble, but discovers greater passion ; and few actors are, per- 
haps, capable of delineating, in such glowing colors, the 
storm of a violent passion, as Cooke. His voice is power- 
ful and of immense compass ; a pre-eminence he possessed 
over Kemble, of which he skilfully avails himself. His 
exterior movements are inferior in the picturesque to those 
of Kemble." 

ANOTHER AND COMIC VIEW OF COOKE. 

It is well known that this justly celebrated actor, like 
Edmund Kean and the elder Booth, was in the habit of 
getting very "mellow" at times. The following lines 
were composed by a poetical wag, as to Cooke's merits : 

"In characters new, and characters old, 
Cooke must be allowed a good fellow ; 
For act what he will, we are certainly told 
That in every part he is perfectly mellow !" 



212 General Theatrical Keminiscences. 

cooke's marriage. 

The following lines were composed on George Frederick 
Cooke's marriage with an estimable young lady of the 
name of Lamb : 

" To expiate the sins of yore, 
The fool of custom gave his store, 
Perhaps a ewe or lamb ; 
So to atone for those of wine, 
Repentant grown at Hymen's shrine, 
Cooke offers up a Lamb !" 



CHAPTER XLII. 

The G-reat Actor, G-eorge Frederick Cooke. 

A Truly Amusing Anecdote of, or Episode in the Great Actor's 
Life as related by the Eenowned Mimic and Actor, Charles 
Mathews — Cooke preaches Temperance while guzzling 
down jugs of Whisky Punch — Passage up the Hudson River 
in the steamer Chancellor Livingston — Cooke's Monument 
in St. Paul's Churchyard, New York, erected by Edmund 
Kean, the great English Actor, etc., etc. 

Dunlap, the biographer of the great actor, George Fred- 
erick Cooke, relates the following incident which occurred 
while on his passage from New York to Albany, in 1823, 
on board, what was at that time considered the very ne 
plus ultra of self-propelling hotels, the steamer Chancel- 
lor Livingston. Among the two or three hundred pas- 
sengers, were the celebrated novelist, James Fennimore 
Cooper, and the far-famed mimic and actor, the elder 
Charles Mathews. The anecdote was told and acted out by 
Mathews. Those who have ever seen Mathews perform, will 
readily appreciate it : 

" We had but one regular meal on the passage, a very 
plentiful supper with tea and coffee, at about seven o'clock. 
We had embarked at 5 p. m., and arrived at Albany by sun- 
rise. The meal was not suited to the habits of Mr. Math- 
ews, and he was offended by both the matter and manner 
of it; but when the preparations for sleeping took place, 
and he found that the whole company, females excepted, 
must seek rest in the same cabin, some in berths and others 
accommodated with mattresses on the floor, his feelings re- 



214 General Theatrical Eeminiscences. 

volted, and he protested against taking rest on such terms. 
To this feeling I am indebted for a night of much amuse- 
ment; I should be unjust if I did not add, and some in- 
struction. I had secured a mattress on the floor of one 
of the cabins and should have slept away at least a part 
of the night, but that Eennimore Cooper gave me an inti- 
mation of Mathews' wish to set up, and of his (Cooper's) 
success in obtaining the captain's cabin on the deck of the 
vessel, where Mathews, Francis, and himself, had deter- 
mined to enjoy a supper, whisky punch, and such convi- 
vial pleasure as could be extracted from such circumstances 
and such a meeting. I readily accepted the invitation to 
make one of the party. 

" Seated in the captain's cabin, and free from all annoy- 
ance, Mathews became, as usual, the fiddle of the company, 
and story, anecdote, imitation and song, poured from him 
with the rapidity and brilliancy of the stars which burst 
from a rocket on a rejoicing night. To make himself still 
more agreeable to the senior, he introduced the memoirs 
of George Frederick Cooke with that flattery which is 
delicious to all men, and peculiarly so to an author. * The 
story of Cooke and Mrs. Burns,' he added, 'you have told 
remarkably well, and when I have introduced it in my 
youthful days, I have always taken your words ; but Tom 
Cooper, from whom, as I understand you had it, forgot the 
termination of the story, — the real denouement, — which 
makes it infinitely more dramatic. All joined in the re- 
quest that Mathews would tell the story in his own way, 
and he, nothing loth, began : 

" I was a raw recruit in the Thespian corps, and it was 
my first campaign in Dublin. Chance made me a fellow- 
lodger with Cooke, at the house of Mistress Burns. 1 
had looked at the great actor with an awful reverence, but 
had not yet been honored by any notice from him. 

"In getting up Macklin's Love a la Mode, I had been 
cast for Beau Mordecai, and assuredly a more unfit repre- 



General Theatrical Keminiscences. 215 

sentative of the "little Jew" can scarcely be imagined. 
As tall as I now am, I then had all the rawboned awk- 
wardness of a hobbletehoy, and no knowledge of the world 
or the stage. But Mr. Cooke must be shown to the Dub- 
lin public in Sir Archy, and there was no other Mordecai 
to be had. I was, however, perfect in the words, and if I 
murdered the Jew, I did it impartially ; I murdered him 
4 every inch.' 

" After the farce I tarried, as you Yankees say, a consid- 
erable time at the theatre, rather choosing to linger among 
the almost expiring dipped candles of the dressing-rooms, 
than to seek, through mist and mud, my lofty but com- 
fortless abode in Mrs. Burns' garret ; but the property-man 
gave me my cue to depart by putting out the lights, and 
I was slowly mounting to my bed when, as I passed the 
room of the great man, I saw him (the door being open) 
sitting with a jug before him, indulging after the labors 
of the evening. I was stealing by to my apartment when 
I was arrested by a loud high-pitched voice, crying, i come 
hither young man.' I could scarcely believe my senses — 
I hesitated. ' Come in, ' was repeated. I advanced. 
' Shut the door, and sit down.' I obeyed. He assumed 
an air of courtesy, and calling upon Mrs. Burns for an- 
other tumbler, filled for himself and me. ' You will be 
so kind, my good Mistress Burns, as to bring another 
pitcher of whisky-punch in honor of our young friend.' 
' To be sure and I will, Mr. Cooke.' The punch was 
brought, together with a hot supper, an unusual luxury 
then to me. After supper the veteran, quite refreshed and 
at ease, chatted incessantly of plays and players, — lashing 
some, commending others, — while I, delighted to be thus 
honored, listened and laughed, thus playing naturally and 
sincerely the part of a most agreeable companion. After 
the third jug of punch I was sufficiently inspired to ask a 
few questions, and even to praise the acting of the veteran. 

"To use vour own words, as I have often done before," 



216 General Theatrical Eeminiscences. 

said Mathews, addressing himself to the biographer, "one 
jug of whisky-punch followed the other, and Cooke be- 
gan to advise his young companion how to conduct him- 
self on the real and on the mimic scene of life.' ' You 
are young, and want a friend to guide you. Talent you 
have, but talent without prudence is worthless, and may 
be pernicious. Take my word for it, there is nothing can 
place a man at the head of his profession but industry and 
sobriety. Mistress Burns! — shun inebriety as you would 
shun destruction. Mistress Burns ! another jug of whisky- 
punch, Mistress Burns/ 'Oh, Mister Cooke/ 'You 
make it so good, Mistress Burns — another jug/ *' Yes, 
Mister Cooke/ ' In our profession, my young friend, 
dissipation is the bane of hundreds; villianous company 
— low company, leads to drinking, and the precious time 
is lost which should have been employed in gaining that 
knowledge which alone can make man respectable. Ah ! 
thank you, Mistress Burns; this has the true Hibernian 
smack ! ' ' You may say that, Mister Cooke/ 

" It is needless to remind the reader that with the aid of 
Mathews' powers of imitation, sometimes called ventrilo- 
quism in this humbugging world, all this and much more 
would be extremely pleasant, and more especially as the 
company had repeated supplies of the same inspiring bev- 
erage from the steward, and almost as good, certainly as 
strong, as that of Mistress Burns. 

" Mathews went on to describe the progress of Cooke's in- 
toxication, during which his protests against drunkenness 
became stronger with each glass. He then undertook to 
instruct the tyro in the histrionic art, and especially* in 
the manner of exhibiting the passions. Here it would be 
vain to endeavor to follow Mathews. Cooke's grimaces 
and voice — while his physical powers, under the influence 
of whisky, rebelled at every effort against the intention 
of the lecturer — were depicted by the mimic in a manner 
beyond the conception of even those who have seen the 



General Theatrical Reminiscences. 217 

public exhibition of his talents ; here all was unrestrain- 
ed mirth and fun, and the painting truly con amove, and 
glowing from heart and glass. 

" It must be remembered," continued Mr. Mathews, 
" that I was but a boy, and Cooke in the full vigor of man- 
hood, with strength of limb and voice Herculean. I had 
the highest reverence for his talents, and literally stood in 
awe of him ; so that when he made his horrible faces, and 
called upon me to name the passion he had depicted, I was 
truly frightened — overwhelmed with the dread of offend- 
ing him, and utterly at a loss to distinguish one grimace 
from another, except as one was move and another most 
savage and disgusting. 

" i Now, sir — observe — what's that ? ' 

"'Revenge, sir!' 

"' Revenge! you booby! pity! pity!' 

" Then, after making another hideous contortion of 
countenance, he cries : 

"''What is that, sir?' 

" ' Very fine, sir ; very fine, indeed ! ' 

" < But what is it, sir?' 

" Forced to answer, and utterly unable to guess the 
meaning of the distorted face which he then again thrust 
before me, I stammered out, ' Anger, sir ! ' 

"' Anger!' 

" ' Yes. sir ; anger, to be sure.' 

" ' To be sure, you are a blockhead ! look again, sir ; 
look again ! ' 

" ' It's fear, sir — fear ! ' 

" l You play ! you a player ! ' " 

" Mathews then exhibited the face of Cooke as he distorted 
it to express the tendev passion — a composition of satanic 
malignity, and the brutal leering of a drunken satire — and 
imitating Cooke's most discordant voice, cried : " There, 
sir; that's love!" "This," continued Mathews, "was 
more than I could bear ; even my fears could not restrain 



218 General Theatrical Eeminiscexces. 

my laughter ; I roared. Cooke stared at first, but imme- 
diately assuming a most furious aspect, he cried, ' What do 
you laugh at, sir ? Is George Frederick Cooke to be made 
a laughing stock for a booby ? What, sir ? ' Luckily, at 
that moment Mrs. Burns stood with the door partly opened, 
and another jug in her hands. ' You must pardon me, 
sir/ I said, with a quickness which must have been the 
inspiration of whisky, ' but you happened to turn your 
soft and languishing look towards the door just as Mrs. 
Burns opened it, and I could not but think of the dan- 
gerous effect of such a look upon her sex's softness.' 

" He laughed ; and embracing the jug as the good woman 
put it down, he looked at Mrs. Burns, and with some 
humor, endeavored to sing, i How happy could I be with 
either, were f other dear charmer away, 1 but with a voice 
which defies art and nature for a comparison. 

"Mrs. Burns now protested against any more punch; 
but after some time agreed, upon Cooke's solemn promise 
to be satisfied with one more jug, to bring it. 

"'But remember your honor, Mister Cooke; and that 
is the jewel of the soul, as you say.' 

" ' I said no such thing ; but I'll be as good as my word, 
and one more jug you shall have, and thedivil a bit more, 
jewel or no jewel! ' I was heartily tired by this time, and 
placed my hope on Mrs. Burns' resolution. The last jug 
came, and was finished; and I wished him good night. 

" ' Not yet, my dear boy.' *' It's very late, sir.' ' Early, 
early; one jug more.' 'Mrs. Burns will not let us have 
it, sir.' ' She will not! I'll show you that presently! ' 

" Then followed a fine specimen of imitation ; Mathews, 
as Cooke, calling upon Mrs. Burns, (who was in the room 
below, and in bed,) and then giving her answers, as coming 
up through the floor, in the manner called ventriloquism. 

""'Mistress Burns! Do you hear, Mistress Burns?' 
'Indeed and I do, Mister Cooke.' ' Bring me another jug 
of whisky-punch, Mistress Burns ! ' ' Indeed and 1 wonH, 



General Theatrical Reminiscences. 219 

Mister Cooke ! ' ' You won't ? ' * Indeed and so I won't.' 
' Do you hear that, Mistress Burns?' (smashing the jug 
on the floor). * Indeed and I do, and you'll be sorry for it 
to-morrow.' He then regularly took the chairs, one by 
one, and broke them on the floor immediately over Mrs. 
Burns' head, after every crash, crying, ' Do you hear that, 
Mistress Burns?' and she as regularly answering, ' In- 
deed and I do, Mister Cooke.' He next opened the win- 
dow, and threw the looking-glass into the street. 

" I stood," continued Mathews, " in a state of stupid 
amazement during this scene, but now attempted to make 
my escape, edging towards the door, and making a long 
stride to gain the garret stairs. 'Come back, sir! Where 
are you going ? ' 'To bed, sir.' ' To bed, sir ! What, sir ! 
desert me ! I command you to remain, on your allegiance ! 
Desert me in time of war! Traitor! ' I now determined 
to make resistance; and feeling pot-valiant, looked 
big, and boldly answered, ' I will not be commanded ! I 
will go to bed ! ' ' Aha ! ' cried the madman, in his highest 
key, 'Aha! do you rebel? Caitiff! Wretch! Murderer !' 

" He advanced upon me and I shrank to nothing before 
his flashing eye. ' Murderer !' and he seized me by the col- 
lar with Herculean grip. 'You will go! I will send you 
to the place you are fitted for! Murderer ! I'll drag you 
to your doom! I'll give you up to fate! Come along, 
caitiff!' and he dragged me to the open window, vocifera- 
ting, 'Watch! watch! murder! murder!' in his highest 
and loudest key. 

" Immediately the rattles were heard approaching in all 
directions, and a crowd instantly collected. He continued 
vociferating 'Watch! watch! murder!' until the rattles 
and exclamations of the watchmen almost drowned his 
stentorian voice. 

"'What's the matter? who's kilt? who's murdered? 
where's the murderer ? ' 

" ' Silence !' screamed Cooke — ' hear me !' 



220 General Theatrical Reminiscences. 

All became hushed. Then holding me up to the win- 
dow, the raving tragedian audibly addressed the crowd : 
" In the name of Charles Macklin, I charge this culprit, 
Charles Mathews, with the most foul, cruel, deliberate and 
unnatural murder of the unfortunate Jew, Beau Morde- 
cai, in the farce of ' Love a la Mode.' Then pulling down 
the window, he cried, ' Now go to bed, you booby! go to 
bed! go to bed!" 

The steamboat party remained together until near 
morning, and then retired to rest. Let it not be supposed 
that they imitated the folly of the hero of the above tale 
because whisky punch has been mentioned. The evening, 
or night, was one of real interchange of mind, heightened 
by the peculiar powers and habits of the very extraordi- 
nary histrionic artist who gave this instance of Cooke's 
eccentric and pernicious propensities. 

Shortly after the arrival of the celebrated Edmund Kean 
in New York, which was in November, 1820, he paid a 
visit to the place of the interment of Mr. Cooke, and then 
determined, prior to his departure for Europe, to erect a 
suitable monument to the memory of him whose extraor- 
dinary powers, though he himself had never witnessed 
them, had been so highly lauded by every admirer of 
Shakspeare and the lover of nature. 

Accordingly, in June, 1821, the body of Mr. Cooke was 
removed from the Strangers' vault, in St. Paul's church- 
yard, New York city, to a most eligible spot in the centre 
of that extensive burial ground. Mr. Cooke died in Sep- 
tember, 1812, and the monument over his remains was 
erected on the 4th of June, 1821. It is well executed 
in marble, by the Erazees, and consists of a square 
pedestal on two steps, surmounted by an urn, from the top 
of which a flame issues towards the Park Theatre, the 
scene of Mr. Cooke's greatest efforts in this country. The 
inscription on the tomb was furnished by Dr. Francis, 



General Theatrical Reminiscences. 221 

who had superintended the removal of the remains, is as 
follows : 

" Erected to the Memory of 

GEORGE FREDERICK COOKE, 

Br Edmund Kean, of the Theatre Royal, Drury Lane, 1821. 

" Three kingdoms claim his birth, 
Both hemispheres pronounce his worth." 



Life's but a walking shadow, a poor player 
That struts his brief hour upon the stage, 
And then is heard no more. 



CHAPTER XLIII. 

The Old Trowbridge Museum. 

First Museum in Albany, 1798, corner of Green and Beaver 
Streets — Henry Trowbridge discovers and produces Illumi- 
nating G-AS, USING IT INSTEAD OF " PENNY DIPS " AND OIL IN 

his Museum — Charlotte Temple — Her Tomb in Trinity 
Churchyard, Xew York — That Veritable " Old Hand Or- 
gan " — Its Dulcet Notes — Yankee Hill — He first Appears 
in Songs and Yankee Stories in the " Little Dark Room" 
of the Old Museum — He next makes His Debut at the Pearl 
Street Theatre — His Amours with a Pretty Actress — His 
Final Ruin and Melancholy " Exit" from Life's Busy Stage. 

In the series of our " Theatrical Keminiscences," pub- 
lished from time to time in the Albany Morning Express, 
but slight allusion was made to either the old Trowbridge 
Museum or Meech's Albany Museum. 

Before proceeding with a fuller sketch of the two 
Museums above mentioned, we would state that Trow- 
bridge's Museum was not, as was supposed, the "first" 
establishment of the kind in Albany, as will appear by the 
annexed announcement of 1798 : "A Museum is now es- 
tablished in this city, (Albany), and is open for inspection 
at the corner of Green and Beaver streets, opposite Den- 
nison's Tavern, every day, (Sunday excepted,) from nine 
o'clock in the morning till nine at night. It contains a 
number of living animals." 

Trowbridge and his Illuminating G-as. 

Mr. Trowbridge gave the first exhibition of his gaslight 
in 1817. to a large audience who were there mainly with a 



General Theatrical Reminiscences. 223 

view to reward him for his indefatigable exertions, and who 
expressed much gratification at the result of the novel ex- 
periment. Mr. Trowbridge afterwards tried various experi- 
ments with gas, such as collecting it in glasses, allowing 
persons to inhale it, and on application of fire a bright 
flame would issue from their mouths. Mr. Trowbridge 
clearly explained the difference of lighting his establish- 
ment with gas, or with tallow candles and oil — the dif- 
ference being as follows: lighting with oil and tallow can- 
dles, per night, from $1.88 to $2.25 ; and the coal and wood 
consumed in producing sufficient gas for one hundred and 
twenty burn'ers, amounted to only sixty cents per night ! 
Mr. Trowbridge, it would appear then, was one of the 
first, if not the/?\s^, to discover and to introduce gas for 
illuminating purposes. 



" Trowbridge's Museum," 

or, New York State Museum, was located on the North- 
east corner of Hudson and Court, afterwards South Mar- 
ket street, (now Broadway.) Previous to Mr. Trowbridge's 
occupancy of the building as a Museum, the State occu- 
pied it for public purposes, the Legislature holding its 
annual sessions there till the present Capitol was erected. 
Mr. Trowbridge, in 1830, removed his traps to the new 
marble building corner of State street and Broadway, 
erected by the celebrated stage proprietors, Messrs. Thorpe 
& Sprague. 

Trowbridge's Museum, in those days, was considered 
quite an institution, it being the only establishment of the 
kind, of any consequence, north of New York. Trow- 
bridge had a sprinkling of the tact, taste, and go-aheadi- 
tiveness of Barnum, but little of his ''humbugging" pro- 
pensities. Trowbridge was ever on the qui-vive securing 
all sorts of monstrosities that love or money could pro- 



224 General Theatrical Reminiscences. 

cure — such as huge reptiles, double-headed and six-legged 
calves, lambs, and other wonder-exciting curiosities! 



Charlotte Temple's Tomb in Trinity Churchyard, 
New York. 

Among the prominent features in the "show depart- 
ment," were the execution of the unfortunate "Louis the 
Sixteenth," " Charlotte Temple," (the remains of this un- 
fortunate woman were interred in Trinity Churchyard, New 
York. Her grave can be seen on the east side of the church, 
simply her name engraved upon the dark marble slab that 
lies flat upon her tomb. It is said that when her remains 
were first placed there a large brass plate with her name 
engraven thereon, was set in the marble slab, but some 
" body snatcher " or sneak thief, supposing the plate to be 
gold, detached it and carried it off,) "Tarn O'Shanter 
and Souter Johnny," the " Witch of Endor raising Sam- 
uel from the Tomb," "Punch and Judy," the "Grea.t 
Leviathan Turtle," or shell, fifteen feet in circumference ; 
the " rope with which Hamilton was hung " for shooting 
Major Birdsall, near the old arsenal in the Colonie, while 
on parade. Then there was the veritable " old hand 

ORGAN ! " 

" From rosy morn to dewy eve," 

grinding out such soul-thrilling and fashionable airs as 
"Molly Hang the Kettle on," " Yankee Doodle," (minus 
the variations!!) " Barney Leave the Girls Alone," "The 
Rogue's March," and other equally choice music! The 
" Old Organ," as thousands will be very apt to long remem- 
ber, was also prominent among the features of the new 
Albany Museum ! 

Attached to the old Museum was a tolerably fair sized 
but very dark apartment, bearing the imposing title of 
" Lecture Room ! " where most of the exhibitions were 



General Theatrical Reminiscences. 225 

given at night. In this room the antiquated " Phantas- 
magoria," with the "Dance and Multiplication of 
Witches/' was nightly exhibited to unsophisticated and 
awe-stricken crowds ! Occasionally appeared in this lec- 
ture room a " star " itinerant comic singer or dancer, in 
the way of extra luxury for the patrons of the establish- 
ment. 

"Yankee Hill." 

It was in this little dark lecture room that Yankee Hill, 
who ranked among the very first in this country as a rep- 
resentative of Yankee character, commenced his dramatic 
career, entertaining his audiences with comic songs and 
Yankee stories. One of those songs we well remember, 
each verse ending with " Mr. York, you're Wanted," which 
was nightly repeated to a delighted and encoring throng ! 

In speaking of Yankee Hill, we would state that it was 
at the suggestion and interposition of the writer of this 
work, that an arrangement was made with the managers, 
Messrs. Duffy & Forrest, to bring Hill out on the boards 
of that theatre in his Yankee characters. The suggestion 
was at once entertained and acted upon by the managers, 
and in a short time he made his debut in the Yankee 
character in Woodworth's beautiful comedetta of the 
"Forest Rose," in which he at once made a hit — a "pal- 
pable hit " — and rapidly rose in the profession, finally 
reaching the very highest niche in the temple of dramatic 
fame. 

Hill was a Yankee by birth — his voice, with the natural 
nasal twang, peculiarly and admirably adapting him to 
the character. He was easy, quiet, and perfectly natural 
in his every impersonation, surpassing, beyond all doubt, 
Hackett, Dan Marble, and others who assumed the Yankee 
role. Hill immediately commenced " starring " it through- 
out this countrv, afterwards making a professional tour 
15 



226 General Theatrical Reminiscences. 

through the principal cities of England, Ireland and Scot- 
land, meeting with a success theretofore unknown to an 
American actor. 



Hill's Amour with a Pretty Actress. 
Hill accumulated a very handsome competency, and re- 
turned to his native land. Unfortunately for him, how- 
ever, while in London he became enamored of a fascinating 

but very artful young actress of the name of Miss E s, 

whom he brought with him to this country. She appeared 
at the principal theatres in the United States, meeting with 
considerable success. While in the city of Washington, 
which was during John Tyler's (" Tippecanoe and Tyler 
too ") administration, she produced so decided a sensation 
among the magnates of that city by her cunning manoeuvre- 
in g, coquetting, and shrewd strategy, as to actually suc- 
ceed in controling the appointment of many a " scurvy 
politician " to an office in some of the government depart- 
ments at Washington, as well as elsewhere. " Bob " T , 



it was strongly suspected, had been inveigled in the meshes 
of this artful girl, which may in a measure account for the 
influence she had in controling affairs to the extent she 
did. 



" "Wine and Women " Hill's Ruin. 

It was through the wiles and intrigues of this young- 
actress that Hill was ultimately driven to an utter state 
of despair and final ruin ! " Women and wine," so often 
the ruin of young men of the present day, was the cause 
of destroying poor Yankee Hill ! His sad fate should be 
a solemn warning to our young men generally. He died 
at Saratoga Springs, September 27, 1849, in the 51st year 
of his age, in rather embarrassed circumstances, leaving an 
amiable and very exemplary wife and several children, who 
at last accounts were residing at Batavia, Genesee county, 



General Theatrical Eemtniscences. 227 

~N. Y. Hill once owned a beautiful villa at Batavia, lo- 
cated near the New York Central Railroad depot, situated 
on an elevated plat of ground, commanding an uninter- 
rupted view of the beautiful village of Batavia and sur- 
rounding country ; but whether this property was saved 
from his wrecked fortune and secured as a home for his 
wife and children, we have never been advised. We, how- 
ever, understand that Hill's life was insured for $5,000, 
which his wife, without doubt, received. In conclusion, 
we would mention that after Hill relinquished the dramatic 
profession he adopted the dentistry profession, in which 
he was engaged until within a short period of his demise. 
After Hill's retirement from the stage, it was very evi- 
dent the interest in Yankee character began rapidly to 
decline, as none were found capable of filling his place, or 
even to touch his cast-off mantle ; he was beyond all 
doubt or cavil, the very best delineator of Yankee charac- 
ters in the world. 



CHAPTER XLIV. 

The Albany Museum. 

Sketch of the same from 1830 to its final closing — The va- 
rious Managers — Enlargement of the Dramatic Depart- 
ment — Names of the various Prominent Stars, and of 
many of the various stock companies — sketch of daniel 
Lambert — Anecdotes, etc. 

As was stated in a previous chapter, Mr. Trowbridge, 
in 1830, removed from the old Museum to the new mar- 
ble building corner of State street and Broadway, his stock 
of curiosities and fixtures. No building in the country 
was so admirably adapted to the purposes designed by the 
proprietor as the one which he had just taken possession 
of. Originally, the entrance to the Museum was by the 
spiral stair- way on the corner of State street and Broad- 
way, connecting with an ample balcony. A few years sub- 
sequently the entrance to the same was changed to the 
present one on State street, the spiral stair-way removed, 
and the balcony left remaining for the accommodation of 
the Museum band, consisting of a Kent bugle, clarionet 
and bass drum, which was wont to discourse, aided occa- 
sionally by an accompaniment on the veritable hand-organ, 
most excellent music — regaling night and day the aural 
sensibilities of the visitors as well as the passing throng ! 

In speaking of the musical department of this establish- 
ment, Ave should have said that the organ, as well as the 
bass drum, were not done generally by musical artists, but 
usually by a genteel class of young men who, by getting 



General Theatrical Reminiscences. 229 

on the sunny side of the proprietor's nature, worked tli em- 
selves in as permanent " dead-heads." 

This was one of the largest and most admirably arrang- 
ed Museums in this country, with the exception, perhaps, 
of Barnum's ; the collection of rare and beautiful birds, 
native and exotic, far surpassing even Barnum's, Peal's or 
any other establishment of the kind in the Union, as was 
the frequently expressed opinion of Professor John Bell 
and other celebrated taxidermists. The collection of ani- 
mals, aquatic fowls, etc., was also very rare, extensive and 
artistically prepared, as was also the very fine collection 
of wax figures, occupying conspicuous positions in various 
parts of the spacious " show rooms;" the whole forming an 
attraction worthy the attention and study of visitors. 



Daniel Lambert. 

As this remarkable personage constituted the largest 
feature among the countless monstrosities, and as many 
incredulous people who gazed upon the wax figure of 
Daniel " didn't believe such a person ever existed, and that 
he was a mere myth," we subjoin the folloAving sketch 
from English history as incontestible evidence that such a 
man as Daniel Lambert did "live, move — though rather 
slow — and have a being " : 

" In the year 1810, Daniel Lambert died in Stamford, 
England, in the 59th year of his age. He was long cele- 
brated in sporting annals, and not less famous for his 
bulk and immense weight, being confessedly the heaviest 
human being in all Europe. 

" This extraordinary person was born at Leicester, in 
the year 1769. His father was keeper of the Bridewell of 
that town, to which situation his son Daniel succeeded, 
and kept it till, by a new regulation, that place of con- 
finement was merged into the new jail. Having lost his 
employment, and having been all his life too generous to 



230 General Theatrical Eeminiscences. 

be very provident, he fell under the pressure of pecuniary 
want, from which his friends relieved him. 

" He was advised to see company, or, in other words, to 
'show' himself for his future emolument ; an expedient 
to which, though he was extremely averse, he at last con- 
sented. He arrived at Stamford, and sent a message to 
the printer with the request that, " as the mountain could 
not wait on Mahomet — Mahomet would come to the moun- 
tain," or, in other words, that the printer would call upon 
him and receive an order for executing some handbills 
announcing Mr. Lambert's arrival and desire to see com- 
pany. 

" The orders he gave showed no presentiment that they 
were to be his last, but were delivered with his usual cheer- 
fulness. He retired to his bed — he had no indisposition, 
only a sense of fatigue — but before nine o'clock the next 
morning he was dead. His corpulency had increased till 
the machinery of life, clogged with flesh and fat, stood 
still ! Upon being weighed, his weight was found to be 
seven hundred and- twenty -eiglit pounds ! His coffin, in 
which he was with great difficulty placed, was six feet four 
inches long, four feet four inches wide, and two feet four 
inches deep. It consisted of one hundred and twelve 
superficial feet of elm-wood, and was fixed upon two axle- 
trees and four clog wheels, and on that he was rolled to 
the grave ! " 



Capacity of the Museum in its Early Days. 

In the early days of the Museum the accommodations 
for theatrical representations were rather limited, there 
being only a small sized auditorium and stage arranged on 
the east side of the third story, the auditorium accommo- 
dating some three or four hundred persons. The class of 
entertainments were light vaudevilles, farces, singing, danc- 
ing, phantasmagoria exhibitions, ventriloquism, sleight- 



General Theatrical Remus iscences. 231 

of-hand, with such other novelties as were supposed to 
possess the all-important requisite in a manager's eye, that 
of drawing! 

Many actors and actresses made their debut at the 
Albany Museum, on this seven-by-nine stage, who in later 
3 r ears became quite noted, as well as great favorites, in the 
theatrical profession, among whom we will name the fol- 
lowing: E. Eddy, Charley Kane, Sidney Smith, Mary 
Gannon, Mary "Wells, etc. 



CHAPTER XLV. 

The Albany Museum. 

New Dramatic Department — Its Ornamentations — Signor Gui- 
dini, the Celebrated Scenic Artist — John M. Trimble, 
Architect— Opening Address of C. W. Taylor — Xames of 
Different Managers. 

The dramatic department of the Museum was enlarged 
by the addition of the two adjoining buildings north, and 
the celebrated theatre architect, the late John M. Trimble, 
employed, and in an unprecedentedly brief period the en- 
tire upper stories of the adjoining buildings were trans- 
formed into a very spacious theatre, which was subse- 
quently denominated " Museum Saloon." The auditorium 
was of sufficient capacity to easily accommodate fifteen 
hundred people, and consisted of a parquette, family circle, 
with proscenium or private boxes, elegantly and elaborately 
furnished. 

The orchestra, though not extensive, (forming a promi- 
nent and pleasing feature,) was under the leadership of 
the late Lewy Undemer, assisted by our well known musi- 
cal artist, Richard J. Carmody, the popular organist of the 
Cathedral. 

The stage was quite ample, sufficiently so to produce 
extensive spectacular and other heavy pieces in all their 
completeness. The frescoing and ornamentations through- 
out were the work of the famed Italian artist, Signor 
Guidini, who decorated the old National Opera House, 
New York, so universally celebrated as a chef d' ouvre in 
sister art. 



General Theatrical Reminiscences. 233 

The outlay in effecting the entire improvement amounted 
to between nine and ten thousand dollars. 

It was opened to the public for the first time, on the 
evening of February 1st, 1841, and presented an appear- 
ance of extreme beauty and elegance. Charles W. Taylor, 
musical director and vocalist, delivered the following open- 
ing address, which met with a warm response from the 
large and fashionable auditory : — 

"Ladies and Gentlemen: 

" I have been requested to step forward in my official 
capacity, on the opening of this new and elegant Saloon, 
to offer a few words of explanation to the generous friends 
who have to-night extended to us their favor and their 
patronage. 

" It cannot be denied, ladies and gentlemen, that the 
regular drama has ceased to be a favorite object with the 
citizens of Albany, and I may add elsewhere ; and he is a 
bold speculator who would venture an outlay of capital on 
any attempt to revive dramatic taste amongst them. 

" The numerous lectures, the vast increase of books and 
periodicals, the various absorbing topics which now en- 
gross public attention, have left but little space for the 
successful operation of dramatic literature, and the closet 
or the lecture room has now nearly superseded the once 
prevalent and all-powerful influence of the histrionic 
stage. 

" It must be admitted that most people have, at one 
time or other, been pleased, excited and benefited by the 
noble productions of its master-spirit — Shakspeare — whose 
works cannot now keep the stage, is still the theme of 
critical wonder — the storehouse from which the pulpit and 
the rostrum still draws, as they ever must, their choicest 
and most elegant illustrations. 

"True it is, the management and discipline of the 
drama, not always having fallen into goods hands, its true 



234 General Theatrical Keminiscences. 

design has been perverted, and its native moral tendencies 
changed. Yet all acknowledge, if its abases conld be 
effectually guarded against, it would still be an object 
worthy the admiration and encouragement of the most 
fastidious. It is also true that a taste for dramatic art 
exists to a very great extent in some parts of this country 
and in Europe — and though the theatres in themselves 
have ceased to attract — yet private theatricals a tableaux — 
living picture — are now more prevalent than ever. 

" The proprietors of the Albany Museum intend, as far 
as possible, to evade the difficulties which have proved so 
fatal to places of amusement in this city. This Saloon is 
intended for exhibitions in musical science — lectures on 
art and on science — display of extraordinary skill in scien- 
tific illusions, and for the occasional representation of that 
peculiar kind of drama known as the French Vaudeville, 
in which, generally a single scene, conception of the author, 
together with the neat and skilful personification of the 
characters he has sketched, form the sole attraction. 

" Vulgarity has no place in the true Vaudeville, it is a 
species of living painting, that imparts no offence to the 
eye or the ear, to the most particular auditor or the most 
sedate. 

" The proprietors, therefore, disclaiming any wish or in- 
tention to make theatrical amusement their exclusive 
object, will offer, from time to time, such chaste and pleas- 
ing productions as may be free from the charges which 
have been made against the regular theatre, and in too 
many instances not without a cause. 

" The character of those who will appear on this stage, 
the proprietors trust, will prove a further guarantee of 
the sincerity of these expressions, and to this particular 
test they invite public and individual scrutiny. 

"In the adjoining rooms will be found collected the 
treasures of art and of nature, which continue to form a 



General Theatrical Reminiscences. 235 

prominent feature in the attractions of the evening — while 
here, the melody of song, the inspiration of harmony, wit 
and humor of the passing scene, will merit commendation, 
and challenge the patronage of our enlightened and liberal 
community." 






CHAPTER XLVI. 

The Albany Museum. 

Anecdote of Brandon, the Actor — Dennis Mahonet — Various 
Managers — List of the Various Companies — Death of H. 
T. Meech. 

There were many very amusing scenes and incidents 
connected with the Museum to which we would like to 
refer, did room permit. We will, however, relate one lit- 
tle episode, on account of its having created more real 
amusement than probably the best farce ever represented 
on the Museum boards.- 

It is pretty well known, that some few years since, a 
young painter of the name of Dennis Mahony, resided 
in Albany, and was in the employ of Joseph Davis, at the 
time extensively engaged in the painting business. Den- 
nis usually executed most of the fancy sign painting, and 
priding himself upon his taste and talent as an artist, made 
it an invariable practice of painting in small letters at the 
bottom of the sign " Mahony for Davis." Attached to 
one of the various stock companies at the Museum was an 
actor by the name of Brandon, who, while enacting a 
rather lengthy part, to use a stage parlance, " got stuck " 
in the middle of an important sentence which required 
^ rapid and loud utterance. Brandon waited some time for 
the prompter's cue, but in vain. At length a well known 
wag sitting in the parquette near the stage, directly in 
rear of Mi-. Carmody, the pianist, discovering the dilemma 
of the actor, placed one hand to the side of his mouth in 



General Theatrical Reminiscences. 237 

order the more effectually to throw his voice upon the 
stage, sang out, " say Mahony for Davis ! " Brandon be- 
ing a good deal confused and thinking it the voice of the 
prompter, instantly exclaimed in a loud tone of voice — 
" Mahony for Davis ! " It is scarcely necessary to say the 
entire audience were thrown into inordinate shouts of 
laughter, accompanied with round after round of deafen- 
ing applause, lasting several minutes. Brandon often 
boasted that, " after all, it was the only good or palpable 
hit he ever made on the stage." 

Names of some of the Prominent Members 

OF THE VARIOUS DRAMATIC COMPANIES ATTACHED TO THE 
MUSEUM. 

"We close our rather imperfect sketch of the Albany 
Museum, by giving the names of some of the prominent 
members of the various dramatic companies attached to 
its dramatic department from 1834, '5 and '6, most of 
them familiar not only to the old patrons of this once fa- 
vorite place of amusement, but to the play-going public 
at large. 

E. Eddy, C. W. Taylor, Charley Kane, Gillespie, William 
Ellis, James Can noil, C. T. Smith, William Warren, J. B. 
Bice, Thompson, Sprague, Kent, Mr. and Mrs. Hendrick- 
son, Mr. and Mrs. Skerrett, Mr. and Mrs. P. E. Stone, 
Brandon, Purdy, Lingard, Tom Tyrrell, Fleming, George 
Barton, Mary Wells, Mary Gannon — both afterwards at- 
tached to Wallack's Theatre — Bland, Languish, John 
Drew, Erank Drew, Mr. and Mrs. Harry Hunt, (Mrs. John 
Drew), Mr. and Mrs. Isherwood, Mr. and Mrs. Harry Lov- 
ell, D. Myron, Lewis, Charley Salsbury, Ponissi, Joe Parker, 
Kelly (U. S. Marshal), Charley Mestayer, Germen, George 
Mossop, Mike Hennessy, J. 0. Sefton, Mrs. Meader, Mrs. 
Vernon, Mrs. Bradshaw, Miss E. Dearing, Mrs. and Miss 
Georgiana Kenlock, Mrs. Wray, Miss St. Clair, Julia Turn- 



238 General Theatrical Reminiscences. 

bull, the Misses Emmons, danseuses, and hosts of others 
whose names we do not now remember. 

The Albany Museum, from 1833 to the final closing of 
the establishment about the year 1856 or "7, was under the 
management, for short seasons, of various individuals, viz : 
Henry Trowbridge, Trowbridge & Meech, Meech & Yan- 
derwater, (R. J.), George Randall, John Fursman, John 
Bell, the celebrated Taxidermist, Meech & Canoll, (James 
Canoll, the actor,) F. M. Kent, Skerrett & Anderton, and 
lastly and alone, Henry T. Meech. 

Death of Henry T. Meech. 

Mr. Meech died at Hartford, Conn., in 1870. Some two 
months previous to his death, the family and immediate 
friends of Mr. Meech were startled by the sudden breaking- 
down of his physical powers, and the serious impairment 
of his mind. His recovery was regarded by his attending 
physicians as extremely doubtful, and it was deemed prac- 
ticable to remove him to Hartford, Conn., where two of 
his sons, Rev. Robert H. and Charles E. Meech reside. 
Some time before his death, the cloud which had tempo- 
rarily dimmed his faculties passed away, but left him so 
far exhausted physically that he continued to sink rapidly 
till the hour of his death. He suffered but little during 
his illness ; and in its early stages he had strong presenti- 
ments that his decease was near at hand. 

Henry T. Meech was born in Worthington, Mass., in 
May, 1805, and was consequently in the sixty-sixth year 
of his age at the time of his death. He came to Albany, 
N. Y., at the age of sixteen, and found employment with 
his uncle, Henry Trowbridge, who was proprietor of the 
Albany Museum. From the small pittance allowed him 
as a salary he managed to lay up something for emergen- 
cies, and in a few years had so far mastered the business 
of the Museum as to earn for himself its sole proprietor- 
ship. Under his management the Museum flourished, and 



Gexeral Theatrical Reminiscences. 239 

many of the finest actors and actresses the country has 
known, made their advent under his auspices, and remem- 
ber him with kindness. Among the dramatic profession 
it is known of him that he never failed to pay salaries 
when they were due, — a record of which but comparatively 
few theatrical managers can boast. While yet the youth- 
ful manager of the Museum, he was married to Miss Ade- 
line Hendrickson, daughter of the late venerable John 
Hendrickson, of Albany, a lady of marked personal beauty 
and fine womanly character, who' bore him nine children, 
eight of whom are still living. For several years he was 
the proprietor of a line of canal boats which plied between 
this city and Buffalo, and for some time he conducted 
an extensive manufacture of oilcloths. In various other 
departments of business he figured with varying suc- 
cess, and triumphs and reverses alternated with him — 
the latter, generally attributable to over-confidence in 
friends — till he resolved to " go west," casting his lines in 
Buffalo. Even while suffering from a financial embarrass- 
ment which would have sadly demoralized most men, he 
built in Buffalo the Metropolitan Theatre, now the Acad- 
emy of Music; and the great improvement of that, at an 
early day, he had determined upon only a few months 
previous to his death. In, 1858 he moved to Buffalo with 
his family and assumed the proprietorship of the Wads- 
worth House, now the Continental Hotel. Shortly after 
his wife died, and her memory he always held in the lofti- 
est veneration. Mr. Meech's life had been an eventful one, 
and he was wont to review it circumstantially, to his friends 
with a good deal of satisfaction ; and as it drew near its 
close he derived much consolation from his devotion to 
his family, and from his success in providing for their fu- 
ture comfort. Two of Mr. Meeclrs sons, John H. and 
Henry, inheriting the tact, energy and enterprise of their 
father, are the present popular managers of the Buffalo 
Academv of Music. 



CHAPTER XL VII. 

Origin of IsTegro Minstrelsy — First Effort made at the Albany 
Green Street Theatre by "Hop." Robinson — "Daddy, or 
Jim Crow Rice " — George Washington Dixon — Ned. Christy 
—His Popular Music — He Accumulates a Large Fortune — 
His Melancholy Death ! 

The Atlantic Monthly, some time since, in an article on 
the subject of negro minstrelsy, gave S. C. Foster the 
credit of being the originator of negro minstrelsy, which 
was by no means correct. The negro song, entitled the 
" Battle of Plattsburgh," commencing with — 

" Back side Albany staudee Lakey Champlain, 
A lee tie pond half- full ob water," 

was sung first — as we are informed by an old friend who 
is well posted in matters of this kind — at the old Green 
Street Theatre in this city, by a member of the theatrical 
company, of the name of " Hop." Eobinson, which is about 
the only truthful statement made by the Atlantic in rela- 
tion to the origin of negro minstrelsy ; and after this event 
scarcely anything of account was heard of in this class of 
music for many years. George Washington Dixon was the 
first who made anything like a feature of it in his song of 
"Coal Black Rose," "Long Tailed Blue," etc., which he 
sang in full character, and with great eclat, in New York, 
at the old North Pearl Street Circus, and in Albany, at the 
old South Pearl Street Theatre. " Daddy Rice," as be was 
called, did not make his advent until after Dixon was 
" played out," when Eice introduced the song and dance 



General Theatrical Keminiscences. 241 

of "Jim Crow," which created an immense furore at the 
old New York Bowery for a long time. Bice, after mak- 
ing a professional tour of the States, went to London, where 
his success was equally great. He accumulated a hand- 
some competency in this line of business, but soon squan- 
dered it, dying very poor. After Rice's exit, many efforts 
were made by itinerant aspirants to introduce minstrelsy, 
but they proved miserable failures. Ned. Christy success- 
fully revived, and gave the coup de grace to negro min- 
strelsy, as the thousands who have listened with delight to 
his inimitable troupe in their palmy days, can fully attest. 
The credit is solely due to Christy for rendering negro 
minstrelsy the most popular amusement of the age. His 
beautiful and heart-melting melodies were once the ac- 
cepted and favorite music in the parlors of the wealthy 
and fashionable of that day. Christy inaugurated min- 
strelsy at Buffalo, with an old banjo and a very seedy ward- 
robe, but a large amount of indomitable energy as his 
capital. He made his debut at Harry Meech's Museum 
with a troupe of three or four persons, and after playing a 
short time at this establishment with indifferent success, 
went to New York, leased and fitted up Mechanics' Hall, 
on Broadway, the enterprise being attended with unprece- 
dented success, and enabling him in a short time to retire 
upon an ample fortune ; which, however, he did not long 
enjoy, as the poor fellow was killed by falling from the 
three-story window of his residence on Fifth avenue, a few 
years ago. 
16 



CHAPTER XLVIII. 

"LordAdancourt" and C**** F*****. 

A Highly Sensational Farce in the palmy days of 

C**** — How she succeeded as a fisher-woman in catch- 
ing a Sprig of one of the F. F. A. (First Families of 
Albany) by the Gills. 

Notwithstanding the events related in the subjoined 
sketch occurred many years ago, and was published at the 
time in a journal with which the writer was connected, 
we trust the ventilation of this affair, which caused no 
little sensation at the time, especially among " good soci- 
ety," will be none the less acceptable now, at least to those 
who doubtless remember the circumstances, as well as the 
actress and actors who assumed the principal roles in this 
most amusing farce. 

We would here remark, en passant, that meeting the 
lamented William Cassidy on the street a short time 
previous to his decease — it being the last time we had the 
pleasure of speaking to him — in the course of our conver- 
sation he referred to the " Lord Adancourt " affair, re- 
marking that, " were it properly dressed up, it would form 
an amusing feature in our work." Acting partly upon 
his suggestion, therefore, we concluded to give it a place. 

There is magic in the name, the theme of criticism, the 
universally admired actress and the accomplished lady; 
she who has been the subject of poetry, flattery and acros- 



General Theatrical Reminiscences. 243 

tic — who is not, if we are to believe the expressions of 
her admirers, mere womanly flesh and blood, but an 
angel, yea. verily, a real angel, a theatrical Peri — such a 
one as Tommy Moore sang of when he complimented the 
inhabitants of Heaven by raising to the skies the earthly 
passion of love. Yet C****, notwithstanding all that has 
been written and sung about her, has been the admired 
actress of one farce which we have never seen noticed in 
the public prints. 

A young gentleman claiming to be a sprig of good 
society, (C B — n,) who shoved a goose-quill, (not ex- 
actly as we do, for a living,) fancied himself irresistible in 
love affairs, and determining to become the Paris of Go- 
tham and rob the theatre of its Helen in the person of Miss 
C****, exchanged the gloomy apartments of his father's 
mansion, (old Schuyler mansion,) for lodgings at one 
of our most fashionable and elegant hotels in Albany, pro- 
cured an introduction to the F***** family, and was at 
once pronounced the most elegant and accomplished 
young gentleman this side of the Atlantic. 

Lord Adancourt on the Hook. 
The young F***** had him upon the hook, and he, poor 
fellow, was determined not to let go his bait. At dinner it 
was champagne and porter, and porter and champagne, 
until the purse of the quill-driver felt that it was like 
what nature abhors, viz.: a vacuum! Out of cash, but 
not destitute of credit, tick was the order of the day until 
mine host had become convinced that the man of quills 
was also a man of letters, for he had become deeply ac- 
quainted with his books ! Mine host, however, perceived, 
or fancied he perceived, that there was something very 
like symptoms of a mutual affection between F***** and 
Adancourt. This was enough for him; and as Adan- 
court was not troubled with "dun-fish," and credit was 
good, matters went on "swimmingly." 



244 General Theatrical Reminiscences. 

G-oing to Saratoga. 

After the termination of the theatrical engagement, a 
jaunt to Saratoga Springs was proposed : and as a noble- 
man was a great bait of attraction in the eyes of the " upper- 
tendom," especially both upon the male and female sides 
of the question, " the actress of all work," at no loss of 
invention and ingenuity in the changing of characters, 
aided by mine host and the way-bill of the post coach 
line — no railroads or Pullman palace cars in those days — 
transformed the driver of quills into an English nobleman, 
with the high sounding title of Lord Adancourt ! ! ! 
Upon one fine sunshiny morning, off started the cavalcade, 
bearing with them the newly-made patent English lord. 

Arrival at Saratoga. 

Arrived at the Springs, C**** played off the game with 
admirable tact, and outshone every actress in the scene in 
carrying out the belief that our hero was a real lord ! He 
was a lord; and in addition to his being a lord, he was a 
lover that had crossed the Atlantic for love of her, and a 
real English lord ; and what was more passing strange and 
wonderful, he was a lord in love ! Champagne, with the 
lady of the lord in love ; porter, with the mother and 
brother of the lady of his love, was the rule and practice 
with my lord. Of such astonishing celebrity had he be- 
come, that the moment he appeared upon the piazza every 
adjoining window was raised, and many a beauteous belle 
inwardly sighed for the smiles of the gallant, accomplished, 
and fascinating nobleman. But to one star, and to one 
only, did he bend in humble adoration, and that star did 
he worship with the devotion of a Persian at the shrine 
of the sun. 

The ladies smiled upon him, the gentlemen courted his 
acquaintance with the greatest assiduity, the dandies imi- 
tated him, and the negroes, as he passed or exhibited him- 



General Theatrical Reminiscences. 245 

self upon the piazza, refrained from pitching cents, and 
rolling up the whites of their eyes with most expressive 
grins, scratched their woolly heads, and swore by the 
" geminy ho key, dere was de Inglish lord wat was a courten 
de bootiful and accomplis Missy F**** " In fact, no per- 
son ever excited so much attention on this side of the 
ocean as did Lord Adancourt ; not even excepting Tobias 
Morgan and La Fayette. Toby, who was at the Springs, 
was the oracle of the colored gentry, and as he had waited 
upon La Fayette, and had even been seen familiarly con- 
versing with a lord, Toby was at the highest pitch of 
African glory. He was a wag, and his mysterious man- 
ner of talking about the nobleman, contributed nothing 
to allay the ferment. Through the agency of Lord Adan- 
court and Toby, the Springs became the scene of a real 
Morgan excitement. 

" Tobe " Morgan was a " character," as many of our old 
denizens will remember, who prided himself upon his pol- 
ished looks and good manners. 

The funds of my lord at last became exhausted. After 
numerous ineffectual attempts to borrow or procure the 
acceptance of a draft, he at last hit upon a happy and suc- 
cessful expedient, and wrote to mine host of the hotel, 
" that affairs went on charmingly, he was in town, and 
<3**** would shortly gently float with him into the clear 
and transparent waters of matrimonial felicit}-." Mine 
host was hooked, and after some little hesitation forwarded 
the money, and Lord Adancourt again shone in undimin- 
ished and regenerated splendor. 

The time for a return soon came, but no news of the 
wedding had yet reached the ears of the impatient host 
of the hotel. His eyes were soon delighted, however, with 
the forms of his happy visitors returning from the Springs. 

Lord Adancourt still held out fair inducements — but 
alas, alas, that the farce should have so tragical and lim- 
ited a conclusion ! The right honorable and noble Lord 



246 General Theatrical Reminiscences. 

gallanted his charmer to the steamboat on her way to New 
York, and sighed a sorrowful and an affectionate farewell. 

The actress went to the South again to delight the the- 
atrical world, and Lord Adancourt retired to his solitary 
sanctum to chew the bitter cud of disappointment, to re- 
flect upon the uncertainty of all sublunary things, and, 
above all, the fickleness of woman ! 

Thus ended the "farce." The landlord subsequently 
arranged the affair, and the "patent right,'' honorable and 
noble Lord Adancourt became a persevering driver of the 
gray goose-quill. 

" Oh, my countrymen ! what a fall was there I" 



Lord Mortimer. 

In speaking of Lord Adancourt, we are reminded of 
quite a sensational event that occurred in Albany about 
the time the 0**** F***** and Lord Adancourt farce was 
enacted. A dashing young Englishman paid Albany a 
visit, passing himself off as "Lord Mortimer," and by 
his highly polished and insinuating address soon ingra- 
tiated himself in the good graces of several members of 
fashionable society, playing his game so successfully as to 
swindle them out of large sums of money in the shape of 
accommodation "bank checks," "promises to pay," etc. 
This Lord Mortimer repeated his swindling game in New 
York and other large cities with equal success. 



CHAPTER XLIX. 

Caroline Richings. 

Her Arrival in America when a mere Child— Is Adopted as the 
Daughter of Peter Richings — Her debut at Philadelphia as 
a Pianist — Her first appearance in Opera — Her appearance 
in Albany at Meech's Museum in Her early career — at a 
later date at the green street gayety theatre— she or- 
GANIZES the Richings' English Opera Troupe — Is Married to 
P. Bernard, the Yocalist. 

The private and professional character and career of 
this highly accomplished lady, eminent vocalist, and 
sprightly comedian, is so well and favorably known and 
appreciated, not only in Albany but throughout our land, 
that it would be simply 

" To gild refined gold, 

To paint the lily, 

Or add new perfume to the rose," 

to give more than a brief sketch of her rather eventful 
private and professional career. 

Caroline Eichings was born in England — not in Phila- 
delphia, as has been supposed by many — coming to this 
country with her parents when a mere child, and was soon 
afterwards adopted as his daughter by the late lamented 
Peter Richings, and he loved and cherished her with 
as much sincerity as though she was of his own flesh and 
blood. Peter Richings came to America in 1821, making 
his debut at the Park Theatre, New York. His name, 
as well as that of Caroline, has been, for over a quarter of 



248 General Theatrical Reminiscences. 

a century, as familiar to the public, and particularly to 
Albany, as household words. 

It would seem that Caroline Richings made her first 
appearance before the public of Philadelphia, as a pia- 
nist at a Grand Concert of the Philiharmonic Society, at 
Musical Fund Hall, in 1847. Her first appearance on the 
regular stage was at the Walnut Street Theatre, in 1852, in 
the opera of " The Child of the Regiment." As a come- 
dienne, Miss Richings appeared as Stella in the comedy of 
the Prima Donna, a piece first played in this country for 
the benefit of Mr. Richings. 

Her first appearance in Italian opera was in Philadel- 
phia, in 1857, in the opera of Norma, at the Academy of 
Music, and produced a very favorable impression upon the 
elite of society in the Quaker city. Prom this time she 
rose rapidly as an opera singer, ranking among the first 
musical artists in this country. At the opening of the 
dramatic season of the Walnut Street Theatre, Philadel- 
phia, 1857-8, she became a permanent member of the 
company, in which position she remained till 1859. Since 
that time she traveled as a " star," and lastly as manageress 
of the Richings' English Opera Troupe; she was for two 
seasons a prominent member of the Parepa Opera Com- 
bination Troupe. In 1867, Miss Richings was married in 
Boston, to P. Bernard, the vocalist. 

Peter Richings and his daughter, in their earlier days, 
frequently appeared at the Albany Museum in light musi- 
cal pieces and comedy, never failing to meet with excellent 
success. At' later dates, Mr. and Miss Richings played very 
lengthy and profitable engagements at the Albany Green 
Street Gayety Theatre. The last appearance of this charm- 
ing vocalist and comedienne in Albany, was at the Trim- 
ble Opera House, 1872, when the Enchantress, and other 
popular operas were produced with fine effect and success. 



CHAPTER L. 

Mrs. Scott Siddons. 

Her Eelationship to the great English Actress, Mrs. Siddons — 
Her early Inclination for the Stage or the Drama— Her 
first appearance in a small French Play in Germany — Her 
subsequent success in the Plays of the great Schiller, Ea- 
cine, and other distinguished play-writers — her debut in 
America — Her appearance in Albany as an Actress and 
Eeader. 

Few members of tlie theatrical profession, or lecturers 
and readers, have secured so large a number or warmer- 
hearted friends and admirers, particularly among the elite 
of Albany, than this remarkably beautiful woman and 
unequaled comedienne and tragedienne — in proof of 
which it is only necessary to refer to the very numerous 
and fashionable audiences that greeted her appearance 
during her several engagements at the Trimble Opera 
House. 

There are few play-goers who will be likely to forget 
Mrs. Siddous' unapproachable interpretation of Juliet, 
Julia, in the " Hunchback," Eosalind in " As You Like 
It," the Duchess d'Torreneuva in "Faint Heart," and, 
above all, her Mind girl, in the beautiful and affecting 
drama of " King Eenes' Daughter," rendering the charac- 
ter with such truthfulness and thrilling effect as to elicit 
the warmest sympathies as well as unrestrained demon- 
strations of delight. Mrs. Siddons was truly fortunate 
in having the very able support of two such excellent act- 
ors as Walter Montgomery, and the present indefatigable 
nanager of the Capitol Theatre, Walter Keeble. 



250 General Theatrical Reminiscences. 

Mrs. Scott Siddons is the great grand-daughter of the 
eminent English actress, Mrs. Siddons, and sister of John 
and Charles Kemble. Mrs. Scott Siddons was born in the 
East Indies, in 1844, and is consequently in the twenty- 
ninth year of her age. At a very early age she evinced a 
decided taste for dramatic recitations. On the death 
of her father, his widow and four children returned to 
England and took up her residence in Germany, for the 
better purpose of educating her daughters — and here, the 
subject of this sketch being only eleven years of age, at- 
tracted much attention by her very intelligent rendition 
of small parts in a French play called " Ester," and soon 
subsequently appeared in the plays of Schiller, Racine, 
and other distinguished play-writers. 

Mrs. Siddons' first appearance in England was in the 
character of Lady Macbeth. Her first appearance in 
America was as a reader at Providence, R. I., in 1868, and 
after appearing as a reader at Steinway Hall, New York, 
she made her debut as an actress in America, at the Boston 
Museum. Her first appearance in New York as an actress, 
was in 1868, at the Worrell Sisters' Theatre, in the role of 
Rosalind, in " As You Like It." 

In 1869 Mrs. Siddons again visited England, and, after 
a brief absence, returned to this country, opening at 
Daly's Fifth Avenue Theatre as Viola, in Shakspeare's 
" Twelfth Night," creating a very decided impression. 

It would appear that her married name was Canter — but 
her husband's father objected to his name being used on the 
stage — so Canter, jr., by law, took out the name of Scott 
Siddons, the first (Scott) the name of his mother, the 
second (Siddons) the name of his wife. Mrs. Scott Sid- 
dons' last appearance in Albany, was as a reader before the 
Young Men's Association. 



CHAPTER LI. 

William J. Florence 



Born in Albany, 1831— His First Dramatic Efforts — First Ap- 
pearance AT THE OLD BOWERY THEATRE, iSTEW YORK — HE EUNS 

Rapidly up the Dramatic Ladder — Marries Mrs. Lettell — 
Mr. and Mrs. Florence go to Europe — Their Success in the 
Principal Cities of England, Ireland and Scotland — Re- 
turns Home and " Stars it " through the States — Makes a 
Large Fortune, etc. 

William J. Florence, or as he is more generally and 
familiarly called " Billy Florence," as many may not be 
aware, is a native of Albany, " to the manor born." He 
was born in 1831, and is consequently in the 42d year of 
his age. Mr. Florence, in appearance, is exceedingly pre- 
possessing, both on and off the stage, courteous and gen- 
tlemanly in his intercourse with all, and is, beyond doubt, 
one of the very best delineators of certain characters, es- 
pecially Irish, on the American boards. His acting is 
always natural, easy, graceful, seldom, if ever, overdoing 
or coming tardily off in any role he assumes. He also pos- 
sesses great versatility of dramatic talent which enables 
him to render difficult dialect characters in an unexcep- 
tionable manner, especially that of Bob Brierly, in the 
'• Ticket-of-Leave-Man," in which character he has hardly 
an equal. 

Mr. Florence was engaged by Tom Hamblin, of the old 
Bowery Theatre, New York, with the elder Chippendale 
and John Sefton, with whom he made his debut, in 1849, 



252 General Theatrical Eeminiscences. 

in the character of Peter, in the play of the " Stranger." 
He soon after appeared at Brougham's Theatre. 

On New Years' day, 1853, he married Miss M. Pray, 
who speedily made her debut in the character of " Nan, the 
Good for Nothing." The Florences shortly after visited 
England, meeting with flattering success, in their delinea- 
tion of the "Irish Boy" and "Yankee Girl," at Drury 
Lane Theatre. At the close of their London engagement, 
these artists played to enthusiastic audiences at Liverpool, 
Manchester, Glasgow, Dublin, Belfast, and other large 
towns. 

Eeturning to America, in 1857, Mr. and Mrs. Florence 
appeared in the principal cities of the United States, with 
a repertoire comprising "Handy Andy," "Temptation," 
" St. Patrick's Eve," " Kathleen Mavourneen," " The Yan- 
kee Housekeeper," etc. 

In 1863 Mr. Florence achieved his greatest hit at the 
Winter Garden Theatre, New York, in the " Ticket-of- 
Leave-Man;" and as a burlesque artist he secured dis- 
tinction in light pieces at Wallock's Theatre. The pieces 
he played were " The Keturned Volunteer," " Orange 
Blossom," "Knight of Arva," " Fra Diavolo," "Lady of 
Lyons," and " Coleen Bawn." 

Mr. Florence has displayed his versatility by the assump- 
tion of roles diametrically opposed to each other, in char- 
acter and coloring ; as, for instance, George d'Alroy, in 
the play of " Caste," and as Obenreizer, in " No Thorough- 
fare." Many of the pieces enacted by Mr. and Mrs. Flor- 
ence are his own, including " Mike, the Miner," a three 
act drama, " The Yankee Housekeeper," " Lord Flanagan," 
" The Irish Brogue Maker," " Mischievous Annie," " Lalla 
Eookh," and a version of the " Field of the Cloth of Gold," 
produced a few years since at Wood's Museum, New York, 
in which Florence played the part of King Henry VIII. 

Mr. Florence, yet in all the vigor and freshness of youth, 



General Theatrical Kemlniscences. 253 

continues " starring it," adding, if possible, new laurels in 
his dramatic chaplet. 

Mrs. Florence was formerly Mrs. Lettell — maiden name 
Malvina Pray. She was married to Joseph Lettell, from 
whom she was divorced, and married Mr. Florence in 1853. 
Mrs. Florence is a sister of Mrs. Barney Williams. 



CHAPTER LII. 

Albany Actors and Actresses. 

Those who were to the Manor-Born, and those who Com- 
menced their Dramatic Career in Albany. 

In speaking of Billy Florence, a native-born citizen of 
Albany, we are reminded that the "good old Dutch 
Burgh" has probably produced as many members of the 
dramatic profession as any city of its size in the Union, 
with perhaps the exception of Philadelphia, which is con- 
ceded to be the " mother of actors." 

Of those who were native-born Albanians, we very well 
remember the names of Hopkins and William Eobinson, 
(" Hop." and " Bill,") who made their debut at the old 
Green Street Theatre. Alexander Simpson, printer, who 
first appeared at the old North Pearl Street Thespian 
Theatre; William Duffy, Mrs. Forbes, nee Miss Easton or 
Eaton, Lansing Daugherty, Mike Hennessey, Charley 
Kane, George Stone, Sidney Smith, James Cannoll, Wil- 
liam J. Florence, Frank Lawlor, Mrs. Capt. John Cooke, 
and others, whose names we do not now remember. 

James Cannoll made his first appearance as Ned Grey- 
ling, at the Albany Museum. After leaving Albany, he 
was attached to the dramatic company at Niblo's, but his 
health becoming much impaired by the labors of his pro- 
fession, was compelled to abandon it, and secured a promi- 
nent appointment on the Metropolitan Police, which 
position he held until his death, which occurred Novem- 
ber 5, 1867. His remains were brought to Albany for 



General Theatrical Reminiscences. 255 

interment in the Albany Rural Cemetery, his funeral be- 
ing very numerously attended. 

As an evidence of the high appreciation of Mr. Can- 
noil's dramatic abilities, during two of Mr. Forrest's en- 
gagements in New York, he prevailed upon the superin- 
tendent of the police to allow Mr. Cannoll a respite from 
police duty in order to secure his services in supporting 
him in his principal roles. Certainly a very high and 
well deserved compliment to Mr. Cannoll as an actor and 
as a gentleman. 

Among those who were not born in Albany but who 
commenced their dramatic career here, are E. Eddy, James 
Hall, Joe Parker, Mary Gannon, Mary Wells — both of these 
latter afterwards filled prominent positions at Wallock's, 
New York — Lucille and Helen Western, the Bateman 
girls, Miss Davenport (Mrs. Lander) who, like Edwin 
Forrest, took her first grand start on the journey to dra- 
matic fame, in Albany. Here the first laurels were gath- 
ered that formed the dramatic chaplet of Edwin Forrest 
and Mrs. Lander. Why may not, then, Albany justly 
claim the credit of being one of the principal mothers 
of actors and actresses, many of whom have occupied 
positions of distinction in the dramatic profession ? 



CHAPTER LIII. 

Actors' Lives, 

Their Vicissitudes, Mentally and Physically — Their Mental 
Agony on Particular Occasions — Their Private and Pro- 
fessional Character — Erroneous Impression in Kegard 
Thereto— Great Ages of English Actors. 

In speaking of the causes of the short lives of actors, the 
late venerable actor and manager, W. B. Wood, remarks : 

" The truth is, that the facts assumed by some in regard 
to the causes of the short lives of actors, are utterly un- 
founded, and the conclusions deduced from them are as 
little true. The exposure on the stage, though often 
severe, at the time, probably tends, in its constancy, to 
harden the constitution of an actor ; and the charge of 
* idleness and dissipation ' can be made by only those who 
have no more knowledge of an actor's daily habits than 
they have of those followed by the Caucasian or Esqui- 



An Actor's Routine of Duty. 

Let it, for example, be remembered that an actor passes 
his hours for months together in the following routine, 
and it will require no little ingenuity to find time for 
either " idleness or dissipation " : His " rehearsal " begins 
at 10 o'clock, on an average, and usually occupies till 1 
o'clock, or more frequently, until 2 o'clock. Between this 
hour is his time for study, which in long and new parts is 



General Theatrical Reminiscences. 257 

often most severe, and which must be constant, even with 
short or old parts. Costume, or mechanical or personal 
arrangements for the stage, require much attention al- 
ways; and by 7 o'clock in the evening he must be at the 
theatre for the important labors of the night, frequently 
protracted to the very hour of morning. The hours there- 
fore devoted to study are limited to a short term after re- 
hearsal, and what can be snatched after midnight or after 
rising early in the morning. Nothing is said, of course, 
about those cares of a family, or of interests not profes- 
sional, but yet common to an actor along with other men, 
of those which, though not connected with the immediate 
daily and nightly duties of his profession, yet spring more 
or less directly from that source. 



An Actor's Professional Sufferings. 

Of the professional sufferings of an actor, some little 
idea may be formed by any person who feels himself com- 
pelled only to appear cheerful at a social party for a few 
moments, where no effort is expected from him, and no 
disappointment felt if he proves silent, gloomy or reserved. 
But the poor actor, while writhing under severe physical 
pain and anguish day after day, and month after month, 
must rise from his bed of sorrow to encounter the severity 
of winter in a dress only suited to the torrid zone, and not 
only appear gay and happy, but be expected to communi- 
cate a part of this feeling to the audience. ; or, what is far 
worse, he must rouse himself from the bedside of some 
beloved object, whose life perhaps hangs upon a thread, 
and hurry into the din and forced labor of a theatre, 
doubtful whether his return may be in time to close the 
eyes, perhaps, of the last remaining object of affection 
upon earth ! 

Garrick used to remark that the privileges of an actor's 
life were to be petted and pelted! This is true of some 



258 General Theatrical Eeminiscences. 

favored performers; while the life of others resemble 
that of the politician, commencing in frenzy, and continu- 
ing in a wild and ceaseless struggle ! Garrick's own me- 
moirs furnish evidence how deeply even this cherished 
favorite was compelled to suffer in feeling, and in that 
which some person affected to consider more dear to him — 
his purse ! 

How perfectly absurd, then, to talk of the " idle life of 
an actor !" There is hardly a more laborious professional 
life in the whole range of professional careers. It is speak- 
ing, of course, of those who unite a praiseworthy ambition 
with an honorable feeling of a duty to the public and 
their employers. 

So far as concerns the causes of short life, as found in 
" idleness and dissipation," and as respects the result of 
such causes, the following table shows exactly what might 
be expected. Here is placed after the names of several 
actors and actresses their age at the time of their death, as 
follows : 

Smith, Drury Lane Theatre, 83 ; Moody, 85 ; Dibden, 
76; Johnstone, 72; Bannister, 71 ; Wroughton, 74 ; Faw- 
sette, 70 ; Beard, 75 ; Yates, 95 ; Munden, 74; Bensley, 71 ; 
Hull, 70 ; King, 75 ; Murphy, 75 ; Miss Pope, 76 ; Quick, 
83; Incledon, 68; Mrs. Mattocks, 88; Mrs. Pitt, 70; 
Knight, 70; Whitlock, 70; Mrs. Davenport, 70; Talma, 
the great French actor, and Madame Mars, the distin- 
guished French actress, died at 66, or upwards ; Lafond 
lived to upwards of 80 ; Mrs. Gibbs and Mrs. Grover, emi- 
nent actresses, were also upwards of 70 ; Lady Grosvenor 
reached 72, and Catalain was hale and hearty at 70. All 
these were distinguished actors, actresses, or singers. 
Byrne, the great dancer, was a fine healthy man, in 1860, 
at 88 years ! 

These persons, it must be observed, embrace chiefly the 
names of eminent actors and actresses of London. While 
in the Provinces, many instances have occurred of actors 



General Theatrical Reminiscences. 259 

attaining a great age in earlier times, as, for instance, 
Macklin, who reached the extraordinary age of 97! Gar- 
rick was 67 ; Quinn, 70 ; Batterton, 74; John Kemble and 
his sisters, Mrs. Siddons and Mrs. Whitlock, were near 70. 
A London paper stated, in 1858, that Charles Kemble, 
father of Fanny Kemble, was in his 81st year. Braham, 
the great singer, the same paper stated, still survives, at 
the age of 70, a musical wonder. Of the prominent actors 
who died in America, we give the ages (which, it will be 
observed, nearly average those who died in England) at 
the time of their death : Jefferson, 62 ; Warren, father of 
the great American comedian, 63 ; Bernard, 74 ; Darley, 
77 ; Hallem, 75 ; W. B. Wood, 75 ; Blissett, 78 ; Morris, 
84 ; Mrs. Darley, 79 ; Holland, nearly 80. 



CHAPTER LIV. 

John Hanbury Dwyer, 
The Eminent Comedian and Justly Celebrated Elocutionist. 

There are many of our older citizens who no doubt re- 
member Mr. Dwyer not only as an actor but as a highly 
polished gentleman and a finished elocutionist. His last 
appearance in Albany was at the old Pearl Street Theatre, 
where he made his debut before a large audience, compris- 
ing our first class citizens. 

Mr. Dwyer was born in Tipperary, Ireland. His father 
held the office of colonel in an Irish brigade under the 
unfortunate King Louis the Sixteenth of France. Mr. 
Dwyer arrived in New York from England in 1810. His 
name was originally O'Dwyer. He was conceded by emi- 
nent dramatic critics equal to the great actor Garrick, 
as a comedian. The elegance of his person, the fascination 
of his deportment, and that perfect knowledge of stage 
business which never suffered the slightest embarrassment 
to appear, confirmed him in the public mind as the best 
comedian who had appeared since the time of Garrick. 
It is related that the mere manner of drawing and sheath- 
ing his sword would elicit rounds of applause from the 
large audiences assembled at Drury Lane Theatre. 

Mr. Dwyer's first appearance on the American stage re- 
ceived from an eminent theatrical critic the folio wing- 
highly flattering notice : 

" The American stage has received, in the person of Mr. 
Dwyer, one of the greatest acquisitions that it has ever 



General Theatrical Reminiscences. 261 

had to boast of. He is an actor of great merit, and in his 
line, of the very first promise. Light dashing comedy is 
his forte, and in it he is always faultless. Nature has been 
uncommonly bountiful to this actor — he possesses all the 
commendation to please the eye — stature, bone, muscle, 
symmetry and comeliness." 

It may be gratifying to the friends and admirers of the 
late Mr. Dwyer, to learn that his estimable widow is still 
living, in the sixty-sixth year of her age. She has resided 
in the family of Mr. Vose, on Madison avenue, in this city, 
for the past seventeen years, and we are pleased to say she 
is still in an excellent state of preservation, retaining all 
her mental faculties in a remarkable degree. 

Mr. Dwyer's "Essay on Elocution," a work of three 
hundred pages, and which has had a wide circulation, not 
only in this country but in Europe, is one of the most per- 
fect works on that subject extant. For several years pre- 
vious to his death, Mr. Dwyer devoted his time and atten- 
tion to teaching and lecturing on the subject of elocution, 
his efforts meeting with the most nattering success. 



CHAPTER LV. 

A Pleasant Episode in the Life of Charlotte Cush- 
man- A Valuable Present. 

It was our intention when writing np the sketch of 
Charlotte Cushman, which appears in a previous chapter, 
to have incorporated in the sketch the following account 
of a pleasant episode, which occurred on the last night of 
this lady's engagement in January, 1873, at McVicker's 
Opera House, Chicago : — 

It is not often that the world at large is permitted to 
gain a glimpse of life " behind the scenes," much less ob- 
tain an inkling of the personal relations which exist between 
stage people of the various degrees of prominence before 
the public. The last day of Miss Charlotte Cushman's 
engagement at McVicker's Theatre was the occasion of a 
peculiarly interesting episode, and one which that greatest 
of living actresses will remember with pleasure during her 
life. There seems to have sprung up between Miss Cush- 
man and the members of McVicker's company a mutual 
feeling of the most genuine regard, growing out of the 
extreme kindness and friendly interest which the distin- 
guished actress has manifested toward each and all of the 
people employed on and about the stage. Their apprecia- 
tion of this unusually pleasant state of things took the 
form of an elegant little testimonial — not especially rare 
or costly, nor intrinsically of great value, but exceedingly 
tasteful and appropriate — which was presented to Miss 
Cushman by the manager in the green-room of the 



General Theatrical Reminiscences. 263 

theatre. By general request, the presentation devolved 
upon Mr. McVicker, who, without a moment's warning, 
was called upon to do the honors. He acquitted himself 
neatly and fluently, first assuring Miss Oushman that it 
gave him peculiar pleasure to thus act in behalf of the 
members of his company, her relations toward whom he 
had from time to time observed with especial pride and 
gratification. He then read the following letter : 

"McYicker's Theatre, Chicago, > 
January 11, 1873. $ 

"Miss Charlotte Cusliman: 

" As members of a profession to which you, not only as 
an artist, but as a lady and a true woman, have contributed 
the earnest zeal and heartfelt labors of a lifetime to en- 
noble and honor, we, the members of the company of 
McVicker's Theatre, desiring to express to you our appre- 
ciation, present, through our worthy manager, this circlet 
of gold, inscribed with the motto that has so endeared you 
to us, and which is no less engraven in our hearts, viz.: 
1 Kind Words/ May your happiness here, and in the 
great hereafter, be only symboled by the golden circlet — 
endless." 

Signed, J. O'Keill, J. Howard Eogers, W. H. Power, and 
ten other members of the company. 

Opening a little morocco case, Mr. McVicker took 
therefrom a heavy gold ring, a plain Etruscan band, on 
the surface of which these words were engraved and inlaid 
with black enamel : " Miss Charlotte Cushman. McVick- 
er's Theatre, January 11, 1873. Kind Words." Though 
plain in appearance, the ring was beautifully fashioned and 
engraved, and reflected credit both upon the taste of the 
donors and the workmanship of the makers. 

During all the preliminary proceedings Miss Oushman 
had stood like one utterly at a loss to know what it was 
all about. The perspiration stood in beads on her fore- 
head, and she who had faced hundreds of thousands 



264 Geneeal Theatrical Reminisce nces. 

glanced about her as nervously and uneasily as the veriest 
novice. "When, however, Mr. McVicker placed the ring in 
her hand, with the accompanying letter, her expressive face 
relaxed into a broad smile of unmistakable surprise and 
pleasure, and as a tear glistened for a moment in her eye, 
and then stole down her cheek, in a few broken words she 
expressed her deep gratitude and delight at receiving such 
a token in such a way and from such a source. She said 
that her three weeks' stay in the theatre had been the 
pleasantest engagement of her life; that the constant de- 
sire of the members of the company to anticipate her 
every wish, and conform to it to the best of their ability, 
had made her sojourn so happy and free from annoyance, 
that she heartily wished she were going to remain three 
weeks longer. " So do I ! " heartily interpolated Mr. Mc- 
Vicker. But she might come again some time, she said, 
and hoped she should. She should value the testimonial 
as she had never valued anything in her life, the more so, 
perhaps, because it was the first time in her stage experi- 
ence that such a thing had happened to her. Once more 
she thanked them from her heart, and so ended one of the 
pleasantest little episodes imaginable. 



CHAPTER LVL 

How the Printer Collects his Bill. 

An Amusing Incident at the old Pearl Street Theatre — The 
Manager Nonplussed — Forrest's Last Appearance at the 
old Pearl — Forrest Applauds the Printer's Modus Operandi. 

Frequent allusions have been made in a previous part 
of this work to Thomas Fuller, who was generally known 
as the " Artful Dodger," and who was the last manager 
but one (Mr. Preston) of the Pearl Street Theatre. To 
settle a question frequently asked, why the sobriquet of 
" Artful Dodger " was applied to Fuller, it is only neces- 
sary to say that it was simply because he had a very 
peculiar faculty of " dodging " his creditors, who were 
generally exceedingly numerous. He left many persons 
in Albany with standing accounts, as "reminders" of his 
theatrical reign in Albany, when he made his rather hasty 
exit. This man Fuller was in no way related to or con- 
nected with the venerable " Sam " Fuller, fat and jolly, 

"A fellow of infinite jest and excellent fancy, 
Whose flashes of merriment kept the table in a roar," 

and who kept the Washington Hall, an excellent hotel 
adjoining the theatre on the south, where Luke's dry 
goods store stands. 

A little incident occurred during Fuller's management 
of the theatre which may prove interesting to our readers, 
and especially to printers. It was the closing night of the 
season, Forrest playing "Metamora" to a house filled from 



266 General Theatrical Reminiscences. 

pit to dome, large numbers being unable to gain admis- 
sion. Fuller's creditors, at least a few of them, were on 
the alert. Among the number was the bill printer, and 
the writer of this work, who had seen service in the theat- 
rical line ; that is, in the way of printing, and had suffered 
" many a time and oft" from the failure of managers to 
liquidate the claims he held against them. "Well, the 
printer held a claim of $125 against the establishment, 
and in order to circumvent Fuller, he adopted this dodge: 
In the building adjacent to the theatre on the north, and 
in which the fire that destroyed the Academy of Music 
originated, Mr. Benj. M. Briare kept a confectionery and ice 
cream saloon. The arrangement between the manager of 
the theatre and the printer was, that the printer should 
have the privilege of giving written passes, they being 
charged to his account. George Randall, who is still liv- 
ing and well, had charge of the box-door of the theatre at 
the time, as well as of other internal arrangements of the 
building. 

The printer accordingly prepared a large number of 
written passes — labeled "Box" and "Pit" — a sufficient 
number to cover the amount of his claim against the 
manager. He opened a ticket office in Briare's saloon, and 
placed a couple of young fellows, " well up in their parts," 
in front of the saloon to inform the people, as they crowded 
about the ticket office of the theatre, that they could ob- 
tain tickets in the " side office," instead of being jostled 
and elbowed, and without the fear of having their pockets 
picked ! The " dodge " succeeded admirably, the printer 
disposing of his tickets so rapidly, that long before the 
performance commenced he had realized a sum sufficient 
to liquidate his claim, and held a balance of seventy-five 
cents due the manager! ! Early the morning following, 
manager Fuller sent post haste for the printer to come and 
settle, he supposing from the way the tickets poured in, 
the printer had received a sum far exceeding the amount 



General Theatrical Reminiscences. 267 

of his claim. The summons to appear at the box office 
was promptly obeyed, the tickets were counted, and the 
result exhibited that the printer had received seventy-five 
cents in excess of his bill, which amount was paid over to 
manager Fuller, the printer remarking : " This is the first 
time I ever knew a printer to be indebted to the manager 
of a theatre ! " Fuller was quite chopfallen, but accepted 
" the situation " gracefully ! Forrest was informed of the 
printer's successful " dodge," and had a hearty laugh over 

it, remarking : " Served the d snob right." (Fuller 

was a shoemaker before he became manager of the theatre.) 
Forrest had secured his money before the curtain " rang 
up," so he was all right. 

Soon after this Fuller left town, and, if we mistake not, 
at u greater rate of speed than pedestrians are generally 
in the habit of exhibiting. Some people were so unchari- 
table as to intimate that he was impelled in his hasty re- 
treat through fear of lynching. The last we heard of 
him he was running a shoe shop on Chatham street, New 
York, having adopted the good old motto, " Stick to your 
last." 



CHAPTER LVII. 

Female Dramatic Performers— Then and Now. 

It is a very notable fact, that not until some time after 
the Restoration, did a female appear on the stage of Eng- 
land. Sir William Davenport, proprietor of one of the 
London theatres, it appears, first innovated upon this an- 
cient custom, by bringing out Mrs. Hughes in the charac- 
ter of Desdemona, she being the first female who ever 
appeared on the English stage as an actress. 

The annexed lines, written by a young English lady, is 
a capital hit at the absurd, unnatural custom, of "perri- 
wig-pated " bearded fellows assuming female characters, 
enacting, for instance, such delicate roles as Juliet, Des- 
demona, Ophelia, etc. 

MALES ACTING FEMALE PARTS. 

Ill days of yore, tli' historic page 
Says women were proscribed the stage ; 
And boys and men in petticoats 
~Pla,y'(L female parts with Stentor's notes! 
The cap, the stays, the high-heefd shoe, 
The 'kerchief and the bonnet too, 
With apron as the lily white, 
Put all the male attire tj flight — 
The calotte, waistcoat, and cravat, 
The bushy wig, and gold-trimni'd hat. 
Ye Gods ! behold ! what high burlesque, 
Jane Shore and Juliet thus grotesque ! 

King Charles one night, jocund and gay, 
To Drury went to see a play — 



General Theatrical Eeminiscences. 269 

Kynaston was to act a queen — 
But to his barbel' he'd not been ; 
He was a mirth-inspiring soul, 
Who lov'd to quaff the flowing bowl — 
And on his way the wight had met 
A roaring bacchanalian set, 
With whom he to the tavern hies, 
Eegardless how time slyly flies ; 
And while he circulates the glass, 
Too rapidly the moments pass. 
At length in haste the prompter sends, 
And tears Kynaston from his friends ; 
Tho' he'd much rather there remain, 
He hurries on to Drury Lane. 
When in the green-room he appealed, 
He scar'd them with his bushy beard ! 

The barber quick his razor strops, 

And lather' d well her royal chops! 

"While he the -'stubble" mow'd away, 

The audience curs' d such long delay ; 

They scream'd — they roar'd — they loudly bawl'd, 

And with their cat-calls sweetly squall' d ; 

Th ; impatient monarch storm'd and rav'd — 

" The Queen, dread sire, is not quite shav'd !" 

Was bellow'd by the prompter loud — 

This cogent reason was allow'd 

As well by king as noisy crowd ! ! 



CHAPTER LVIII. - 

Amusing Anecdotes of Edwin Forrest. 

Forrest and the Albany Watchmen — Forrest and Esquire 
John 0. Cole — Forrest and kRS. Wood. 

Soon after Forrest arrived in Albany and joined Gilfert's 
company, he, with several boon companions — among them 
the lamented Oapt. George Hendrickson, for a long time 
commandant of the old Albany Artillery, and one of 
Ned's warmest friends, a generous, genial, noble-hearted 
fellow, who often equipped, cap-a-pie, a new recruit to his 
company, (the Republican Artillery,) at his own expense 
if not able to do so himself. As we were about to say, 
Ned and his companions, one night after the theatre was 
out, sallied forth on a bit of harmless lark. They came 
up old South Market street, (now Broadway,) and when 
opposite the building where the Exchange now stands, and 
which was occupied by the old Albany Bank, a hardware 
or crockery store. On either side of the main entrance to 
this building was an iron railing, enclosing quite a space 
— when the young larks arrived at this spot, they were 
met by several watchmen, or as they were called, "leather 
heads," they wearing large, stout, leather caps. The party 
were all jolly, of course, and full of fun, aud pitching 
their voices at a higher key than the night guardians 
deemed agreeable to the quiet people who had retired to 
the arms of Morpheus, they reprimanded them rather 
harshly. High words arose, and strong insinuations made 
about •' watch-house " and " lock-up." Ned, seeing mat- 



General Theatrical Keminiscences. 271 

ters were assuming rather a serious turn, at once hit upon 
a lucky expedient, or dodge, — he leaped over the railing, 
and commenced spouting passages from some favorite 
Shaksperian character, which had the effect of giving alto- 
gether a different and more favorable aspect to the affair. 
While "Ned" was spouting with such electric effect as 
to absorb the earnest attention of the watchmen, Ned's 
companions, one by one, slipped off, leaving him and the 
watchmen sole masters of the situation ! Finding the 
" birds had flown," and the tables so artfully turned upon 
them, the watchmen took it as a capital joke, and Ned 
was allowed to go on his way rejoicing ! 



Anecdote of Forrest and 'Squire John O. Cole. 

While we have been so long " talking " theatre and actors, 
it will not be deemed out of place, we are satisfied, to 
relate an incident that occurred while Forrest was a mem- 
ber of G-ilfert's Pearl Street dramatic company, and when 
he was what might be termed, rather fast. Being out on a 
lark one night with several boon companions, he was "taken 
in by the watch," and comfortably provided quarters under 
the old Howard Street Mansion. In the morning he was 
brought, with his companions, before 'Squire Cole, who, 
finding the offence rather trivial, discharged the party. 
As Forrest was about to leave the office, the 'Squire deem- 
ing it a fitting occasion to give him a little friendly admo- 
nition, threw himself back in his chair, assuming a slight 
theatrical air, — (the 'Squire was well posted in theatricals 
in his younger days and well versed in Shakspeare) — and 
addressed Forrest in true theatrical style, quoting the fol- 
lowing well known passage from Othello : — 

"What's the matter, 
That you unlace your reputation thus, 
And spend your rich opinion, for the name 
Of a night-brawler? give me answer to it V* 



272 General Theatrical Eeminiscences. 

The effect was electric, and "Ned" made an unusually 
hasty exit, not a little chagrined, as well as greatly aston- 
tonished, at the aptitude of the quotation. 



Forrest and Mrs. Wood. 

When Forrest was playing an engagement in London, 
his benefit and that of the celebrated actress Mrs. Wood, 
happened to take place on the same night — one at Drury 
Lane, the other at the Hay Market Theatre. The next 
day Forrest meeting Mrs. Wood, wiio was rather of petite 
figure, politely asked her, "What sort of a benefit she 
had ? " Mrs. Wood instantly and laughingly replied, " 0, 
the people deserted the little Woods and fled to the big 
Forrests ! " As much as to say her benefit was light. 



CHAPTER LIX. 

Amusing Anecdotes of Edwin Forrest. 

Forrest and the Two Portraits in Hamlet — The Shaving-box 
and Lather-brush — A Ludicrous Scene — Forrest in the 
Lion's Den — Forrest's Courage Tested. 

The following very amusing incident was related to us 
by Mr. Forrest, it having occurred while playing an en- 
gagement at the Cincinnati Theatre, in the rendition of 
Hamlet, which caused him no little chagrin. On leaving 
his room at his hotel, he had forgotten to place the two 
miniatures in his pocket that were to represent his " father 
and uncle," and being in haste to reach the theatre it did 
not occur to him that he was minus the pictures until he 
was called on in the scene with the Queen, (his mother,) 
where he is to "speak daggers but use none." He felt in 
his pocket, but the miniatures were not there, and while 
the Queen was preparing to take her seat, Forrest happened 
to discover an attache shaving himself in a corner behind 
the scene. He made a rush, grabbed the attaches shaving- 
box, lid, soap, brush and all, and thrust them in his bosom, 
and took his seat by the side of the Queen, leaving the poor 
attache standing and gazing in utter amazement at the 
strange proceedings. The interview between Hamlet and 
his mother takes place; he thrust his hand into his bosom 
and pulled out the lid of the shaving-box, which contained 
a miniature looking-glass, exclaiming, "look here, upon 
this picture, (presenting the lid of the box,) and now look 
on this" " This was your husband — this is your husband." 
As he presented the shaving-box with a sudden jerk, out 
18 



274 General Theatrical Eeminiscences. 

tumbled the cake of soap, lather-brush and all, into the 
Queen's lap ! The Queen was somewhat astounded, but 
finally recovering herself, turned her head from the audi- 
ence and enjoyed a hearty laugh at Forrest's discomfiture. 
Those of the audience near the stage who saw the inci- 
dent, enjoyed the joke with perfect gusto. Forrest said, 
" I do believe if there had been a stage trap open near 
by, I should have pitched into it, I was so confoundedly 
mortified." 



Forrest in the Lion's Den. 

The following anecdote is related of Forrest and the 
animal tamer Driesbach. This incident occurred while 
he was playing at the old Broadway Theatre, New York. 
Forrest's pieces were followed by an exhibition of lions by 
their tamer, the renowned Herr Driesbach. Forrest was 
one day saying that he had never been afraid in all his 
life — that he could not imagine the emotion. Driesbach 
made no remark at the time, but in the evening, when the 
curtain had been rung down, he invited Mr. Forrest home 
with him. Forrest assented, and the two entering a house, 
walked a long distance through many devious passages — 
all dark — until finally Driesbach, opening a door, said : 
" This way, Mr. Forrest." Forrest entered, and imme- 
diately heard the door slammed, and locked behind him ! 
He had not time to express any surprise at this, for at the 
same moment he felt something soft rubbing against his 
leg, and putting out his hand touched what felt like a cat's 
back; a rasping growl saluted the motion, and he saw two 
fiery, glaring eyeballs looking up at him ! " Are you 
afraid, Mr. Forrest ? " asked Driesbach. " Not a bit," re- 
plied Mr. Forrest. Driesbach said something — the growl 
deepened, became harsher, the back began to arch, and the 
eyes to shine more fiercely. Forrest held out two or three 
minutes, but the symptoms became so terrifying that he 



General Theatrical Keminiscences. 275 

owned up in so many words, that he was afraid ! " Now 
let me out, you infernal scoundrel/' he said to the lion 
tamer, " and I'll break every bone in your body." He was 
imprudent there, for Driesbach kept him, not daring to 
move a finger, with the lion rubbing against his leg all the 
time, until Forrest promised not only immunity, but a 
champagne supper in the bargain ! ! 



A Stage-Struck Youth's Appeal to Mr. Forrest. 

While Mr. Forrest was playing an engagement at the 
Albany South Pearl Street Theatre, in 1834, he placed in 
our hands the original of the following letter, to which we 
give place for the especial benefit of young dramatic as- 
pirants, Mr. Forrest remarking, " This is only a single 
sample of the innumerable and precious morceau with 
which I am constantly annoyed, and absolutely bored, by 
unfledged would-be young American Eosciuses ! " Here 
is the letter in its entirety — spellatem, et punctuatem, et 
capital-let terem. Of the qualifications for an actor, so 
glowingly set forth by this young man, we leave for those 
to judge, far better posted in theatrical matters than we 
ever dared claim to be : 

"Baltimore Maryland 
"June 24 1834 
" To Mr E Forrest 

" Albany Theatre State of K". York. 

" My Very dear sir — Knowing you to be distinguished 
for your Noble Efforts to encourage Native Talent in Ac- 
tors and Authors I am very Anxious to become an Actor 
and with your Encouragement and a little of your Teach- 
ing I think I might in Time make my Mark in the theat- 
rical Line I have been in the Occasional habit of Spoutting 
Shakspeere at School and they all said I would make a 
first rate Actor in Time I have a pretty fair Edducation I 
am about 18 years old 5 feet 6 inches high in my stock- 



276 General Theatrical Reminiscences. 

ings — Boddy well Knit together strait as a young sappling 
— Nose Roman — legs plump and needs no Padding as so 
manny have to — and my eyes as I have often been told 
somewhat resembling Lucius Junus Booth's — If you 
should think these qualifications Sufficient, be so good 
as to Answer this as Early as Convenient. 

" Your Admirer Always 

" W. S. DANIELSON." 



CHAPTER LX. 

C. W. Taylor. 

He makes his advent in Boston — Enters as head Clerk in an 
extensive Importing House — He falls desperately in love 
with a beautiful opera slnger — joins an opera troupe — 
he makes his first appearance on a public stage at nor- 
FOLK, Ya. — ISText Appears at the Old Chatham Garden 
Theatre, New York — Makes His Debut at the North Pearl 
Street Amphitheatre— Goes to the Albany Museum — Re- 
mains TILL ITS FINAL CLOSE — GOES TO NEW YORK, JOINS HAMB- 

lin's Bowery Company — Retires on the Dramatic Fund. 

Probably no member of the dramatic profession was 
longer or more favorably known to an Albany public than 
the subject of this brief sketch, C. W. Taylor, or " Charley 
Taylor," as he was more familiarly called, and who was 
a resident of Albany for over a quarter of a century. 

Mr. Taylor was born in England, as nearly as can be 
ascertained, in 1800, making his debut on a public stage 
at Norfolk, Va., in 1819, as Patrick, in the operatic com- 
edy of " The Poor Soldier." After playing a brief engage- 
ment at Norfolk, he proceeded to New York, appearing at 
the old Chatham Garden Theatre, in Woodworth's ever 
popular musical drama of the " Forest Rose." Leaving 
New York, Mr. Taylor cast his lines in Albany, making 
his debut at Parson's North Pearl Street Theatre, assuming 
the position of vocalist and " utility business." He soon 
after appeared at the old Pearl Street Theatre, and finally 
became what with propriety might be termed a fixture, at 
the Albany Museum, as he remained at that establishment 



278 General Theatrical Reminiscences. 

uninterruptedly, until a short time previous to its final 
winding up as a place of public amusement. 

Mr. Taylor then bid adieu to Albany and took the situa- 
tion of musical director of the New York Bowery Theatre, 
at that time under the management of Thomas Hamblin. 

Mr. Taylor was an invaluable acquisition to a Theatre, 
having a thorough practical knowledge of its multifarious 
duties. He was highly educated, a ripe classic scholar, a 
remarkably ready and terse writer. [Should any reader 
entertain doubts as regards Mr. Taylor's literary attain- 
ments, we would simply call their attention to the very 
eloquent address delivered by this gentleman at the open- 
ing of the new dramatic saloon, published under the head 
of the Albany Museum, in a preceding chapter of this 
work.] He was the author of a number of popular plays, 
two or three of them being " prize plays " of Dan Marble 
and Yankee Hill. He was also the author of the cele- 
brated nautical drama of the "Water Witch," which was 
produced at the Bowery Theatre, New York, at a large 
outlay, and had an unprecedentedly long and successful 
run. As a dramatic writer and musical artist, Mr. Taylor 
ranked among the very first of the day. He possessed 
remarkable versatility of dramatic talent, ready at all 
times to sing a song, do a low comic role, the eccentric old 
man, the blustering, gruff old sea captain, a juvenile lover, 
or almost any role in the range of the drama, rendering 
his parts with singular aptitude, and with entire satisfac- 
tion to his audiences. 

Charley possessed, in a remarkable degree, one peculiar- 
ity or faculty, which was that of ekeing out, changing 
or adapting his rather scanty private stage wardrobe to the 
various characters he enacted. His wardrobe for light 
pieces, generally consisted of a black frock coat, white 
vest, white linen pants, red cap, ornamented with a gold 
lace band, and a crimson colored silk sword sash. It was 
really amusing to observe with what tact and ingenuity 



General Theatrical Reminiscences. 279 

he would adapt his wardrobe to the character of an em- 
peror, admiral, duke, count, grand marshal, general, cap- 
tain, private gentleman, and with his wig of raven locks, 
would often enact the young lover equal to a youth of 
seventeen ! 

Soon after his advent in Boston, Mr. Taylor entered an 
extensive importing house in that city, as head or man- 
aging clerk, and by his upright conduct and indefatigable 
application to business, soon won the entire confidence and 
respect of his employer. After remaining in this estab- 
lishment for a year he was entrusted with its most import- 
ant interests. He was entrusted with large sums of money 
and frequently sent to England as principal agent of the 
house to purchase goods, which responsible trust was so 
faithfully and scrupulously discharged that the young 
clerk at once became confirmed in the estimation of his 
employers. The probabilities are, that had Mr. Taylor 
remained in this establishment he would have become one 
of its partners in due course of time. That there is a 
" tide in the affairs of men if taken in the flood, leads to 
fortune," is quite true, as was evidenced in the case of Mr. 
Taylor. He failed to take advantage of the flood-tide, 
allowing his finely rigged bark to drift down the ebb-tide 
of disappointment and misfortune. 



"Why Charley Taylor became an Actor. 

At the time Mr. Taylor held the position of clerk in the 
importing house above alluded to, a traveling opera troupe 
visited Boston, and as Mr. Taylor himself was an excel- 
lent musician, it was quite natural for him to visit the 
opera. The prima donna was an accomplished artist, and 
a very beautiful and fascinating young lady of some sev- 
enteen summers. Whether it was the effects of her exqui- 
site vocal powers or her beauty that trepanned the heart 
of our amoroso, we were never advised — but certain it is 



280 General Theatrical Reminiscences. 

he at once became smitten ; cupid's unerring dart per- 
formed its delicate mission most effectually! There being 
no other alternative for Charley, he at once relinquished 
his position as clerk in the importing house and joined 
the opera troupe, in order the more fully to "breathe the 
same air, and constantly bask in the smiles of his lady 
love," where he would have no further cause to "rehearse" 
the good old song commencing with — 

" Thou art so near, and yet so far !" 

Thus was Charley first introduced behind the scenes of 
the mimic stage, making his first appearance as an actor, 
as before stated, at Norfolk, Va. He "strutted his brief 
hour upon the stage" until within some ten years since, 
when the " sere and yellow leaf of time " reminded him 
it was time to leave the mimic stage, which he did, and 
retired upon the dramatic fund. When last heard from 
he was residing in Philadelphia, hale and hearty, figure 
erect, step as elastic, apparently, as when he was in his 
prime, and his locks were of the raven's hue. 



CHAPTER LXI. 

An Actor's Regard for the Observance of Good 
Friday— A Theatrical Incident. 

The occurrence of Good Friday invariably brings vividly 
to mind a little episode that occurred at the Pearl Street 
Theatre, when under the management of Charles Gilfert. 

The great celebrated actor, Conway (we use the word 
great, as Conway was not only great, as an actor, but great 
in stature, being considerably over six feet in his stockings, 
and fairly proportioned) was playing an engagement here 
during Holy Week. The bills were out, announcing Con- 
way in Shakspeare's " Coriolanius," and the company had 
assembled at the theatre on Good Friday morning for re- 
hearsal at the usual hour. After waiting for a long time, 
and Conway not appearing — he ever being prompt in his 
attendance at rehearsal — the circumstance created no little 
surprise, and a messenger was at once dispatched to Con- 
way's lodgings, at Congress Hall, to ascertain the cause of 
his non-appearance at rehearsal. Conway very promptly 
responded to the message, by appearing in propria per sonce, 
and in a highly excited state of mind. He informed Gil- 
fert that he had been so deeply absorbed in preparing for 
the observance of Good Friday that he had entirely for- 
gotten that he had to appear on the stage that evening, 
and had it occurred to him when he made the engage- 
ment, he would most assuredly have had a proviso in the 
engagement that the night of Good Friday be excepted — 
that he was an Episcopalian, and from his youth up, he 
had made it an invariable practice of scrupulously and re- 



282 General Theatrical Reminiscences. 

ligiously observing that day above all others in Lent. 
There was of course no performance that night at the 
theatre. Notwithstanding it was a great disappointment 
as well as damage to Gilfert, as he had anticipated a large 
house, many seats having been early secured, Gilfert most 
magnanimously declined Conway's offer to pay the amount 
of damages Gilfert had sustained in consequence of his 
non-appearance. Gilfert was likewise an Episcopalian of 
the strictest cast. 

Here, then, we have evidence that in the theatrical pro- 
fession, so much abused, there are to be found highly edu- 
cated, honorable christian men — men who would adorn 
the highest walks of life and the most refined society. 

Poor Conway, in a fit of deep despondency or aberration 
of mind, while on passage in a ship from New York to 
Charleston, S. C, and as the vessel hove in sight of that 
city, he walked deliberately to the after-deck and sprang 
into the sea, his body never having been recovered. He 
was educated for the ministry, and had so far advanced as 
to " take orders " for the same before he adopted the theat- 
rical profession. 



Annoyances of Theatrical Managers. 

Probably there are few professions subject to more 
grievous annoyances than the dramatic profession, esr 
pecially the manager. Besides his various legitimate 
duties, which are at times exceedingly onerous, he is very 
frequently and grievously annoyed by the persistent im- 
portunities of unfledged would-be authors and actors. The 
t venerable W. B. Wood, manager of the old Walnut Street 
Theatre, Philadelphia, relates the following incident as a 
specimen of the ordeals through which he was constantly 
obliged to pass : 

" One day, while sitting in my private office, a young 
man entered, apparently seventeen or eighteen years of 



General Theatrical Reminiscences. 283 

age, slender, awkward, neatly dressed in a short blue 
jacket, striped waistcoat, nankeen pantaloons, and half- 
boots. His first salutation was : 

" ' G-ood morning. Are you the gentleman that takes 
play-actors ? ' 

K My reply was, ' I have the direction of the theatre/ 

" ' Well, do you want any actors ? ' 

"'■ Any person of extraordinary talent would find em- 
ployment. Do you know of any one wanting to engage 
as an actor ? ' was our response. 

" ' I want to go on the stage myself, sir.' 

" ' You ! Did you ever attempt to go on the stage ? ' 

" ' Only at the Academy, sir.' 

" ' You are an American, of course ? ' 

" ' Yes, sir ; true blue ! ' 

" ' Where were you educated ? ' 

" ' At Goshen, sir/ 

" ' What plays did you perform at the Academy ? ' 

" ' Why, we played the Catos, the Tambalines, and 
such ! ' 

" ' And pray, may I ask, what did you play ? ' 

" ' Why, sir, I played Cato and Bajazet — and in the play 
of Bold Stroke for a Wife, I played the Colonel. You see 
I was the biggest boy, and I played all the biggest parts! ? 

" ' I don't think you would do, young man, as we have 
no parts big enough for you to play ! ' was our reply." 



CHAPTER LXII. 

Encoring Actors— A Question of Taste— Should be 
Denounced. 

The sins of audiences, in encoring at amusements, have 
been pretty freely ventilated by the press, in many parts 
of the country, in which the abominable practice is most 
unqualifiedly condemned. 

The injustice of the proceeding is often so palpable, and 
it is carried to such extremes, as to provoke disgust. An 
occasional reappearance of a favorite performer is all well 
enough, but the habit of encoring anything and everybody 
is a practice which ought to be abated. Often a small per- 
centage of an audience start the thing, applauding continu- 
ously, and thus prolong the programme till it becomes 
tedious to every one else. It is a mere habit, without sense 
or discrimination. It is an imposition both upon the sen- 
sible part of those who attend and a torment to performers. 
A poor piece on the programme is as often encored as a good 
one, and persons of taste and judgment who are bored 
by it the first time are inflicted with more of the same sort, 
all because a few foolish "claquers" enjoy the fun of 
hand, or worse, foot applause. To the actors, singers, etc., 
the practice is still more unjust. Performers have rights 
as well as the public. They furnish a programme as invit- 
ing as they can make it, generally, too, of considerable 
length, and ought in conscience to be asked for no more. 
An artist, too, is often exhausted by his first effort, and 
should not be asked to repeat. But these chronic applauders 



General Theatrical Reminiscences. 285 

pay no attention to that, or rather in such eases they persist 
all the more in their demonstrations. The performer ap- 
pears and bows in mute entreaty to be let off. He or she 
says as plainly as it can be said, " For God's sake, let me 
off," but the applause increases, the weary actor drags him- 
self back on the stage, and with but half a heart, goes 
through the ordeal of another song or dance. This is 
sometimes kept up for the third or fourth time. 

The public are not impelled by heartless cruelty, but 
they do not appreciate the effort expended by performers 
from the highest to the lowest grades. It looks easy 
enough, but the truth is, an actor or singer of any am- 
bition throws into their part so much vital energy in en- 
deavoring to please, that an immediate and great exhaus- 
tion is the consequence. The thing which electrifies an 
audience is not the mere going through with, in a mecha- 
nical way, an assigned part, but the life, the delicate and ar- 
tistic touches of the soul which is infused. The nervous 
system must, in a genuine artist, be wrought up to the 
highest pitch, and a day's ordinary labor may not prostrate 
the system so much as the exertions of a few moments. 
This being so, every consideration of good taste requires a 
" letting up" by the enthusiastic portion of the public in 
their habit of encoring. Albany audiences are by no 
means free from this grievous iniquity, or positive bore ! 
For the sake of our reputation as a city of sensible, Avell- 
bred people, let the thing be stopped. If encores are in- 
sisted on, let so?ne discrimination be used, and not demand 
the repetition of the good, bad, and indifferent parts of an 
entertainment, with the same senseless persistency ! 



CHAPTER LXIII. 

Remarkable Instance of Stage Effect. 

The Confession of a High Crime in consequence of a Young Man 
"Witnessing the Performance of the Tragedy of George 
Barnwell — An Historical Fact, being only one of numer- 
ous others of a Similar Character. 

The following sketch of one of the most remarkable in- 
stances of the effect of a well acted play upon a guilty 
conscience, will, we venture to say, be perused with no lit- 
tle interest. It is only one of innumerable instances of a 
similar character, in the history of the stage. 

The great poet of Nature, Shakspeare, '"who so well 
knew the qualities of the human heart," thus discourseth 
upon this subject: 

" I have heard 

That guilty creatures, sitting at a play, 

Have, by the very cunning of the scene, 

Been struck so to the soul, that presently 

They have proclaimed their mali factions, 

For murder, though it have no tongue, will speak 

With most miraculous organ 1 " 

The famous actor, David Eoss, of London, had, during 
the Christmas holidays, been playing the tragedy of George 
Barnwell, and the great Mrs. Pritchard that of Millwood. 
Dr. Barrowby, a physician belonging to the hospital of 
St. Bartholomew, told Ross that three days after the 
play he was sent for by a young gentleman, an apprentice 
of a very opulent merchant, whom he found very ill of a 
fever. The nurse told the doctor that his patient fre- 



General Theatrical Reminiscences. 287 

quently sighed bitterly, and she was sure he had some- 
thing on his mind. After much intreaty on the part of 
the physician, the youth confessed he had something which 
lay very heavy on his heart, but that he had rather die 
than divulge it; as, if known, it would be his certain ruin. 
The doctor assured him, that if he would confide it to 
him, he would do all in his power to serve him, and that 
the secret, if he desired it, should be buried in his breast, 
or only told to those who could be able and willing to re- 
lieve him. 

After some subsequent conversation, he told the doctor 
that he was second son to a gentleman of good fortune, 
and that he had made an improper acquaintance with the 
mistress of an East India captain, then abroad. That in 
one year he should be out of his time; and he had been 
entrusted with cash, drafts, and notes to a considerable 
amount, from which he had purloined two hundred pounds. 
That three nights before, as he witnessed the play of George 
Barnwell, he was so forcibly struck that he had not known 
a moment's quiet since. The doctor asked where his 
father was ? He replied, that he expected him there every 
moment, as his master had sent for him as soon as he 
was taken so very ill. The doctor desired the young gen- 
tleman to make himself easy, as he would undertake, with 
his father, to make up matters; and in order to set the 
mind of his patient entirely at ease, he told him if his 
father would not advance the money, he would. 

On the arrival of the father, the doctor took him into 
an adjoining room and explained the cause of his son's 
illness. With tears in his eyes, the old gentleman gave 
him a thousand thanks, and immediately went to his bank- 
er's for the money, while the doctor returned to his patient, 
and told him every thing would be settled to his satisfac- 
tion in a few minutes. When the father returned, he put 
the two hundred pounds into the hands of his son, and 
an affecting scene followed of tears and embraces between 



288 General Theatrical Reminiscences. 

the parent and the child. The son soon recovered, broke 
off a connection which had nearly proved so fatal to him, 
and became, in time, by his attention to business, one of 
the most opulent merchants in the city. 

He was always punctual in his attendance at the benefit 
of Mr. Ross, who, though he never knew the name of his 
benefactor, constantly on that occasion received in the 
morning a note sealed up, containing ten guineas, and the 
following words : 

"A tribute of gratitude from one who was highly 
obliged, and saved from ruin, by seeing Mr. Ross' 'per- 
formance of Barnwell" 



CHAPTER LXIV. 

Theatrical Sympathy. 

Edwin Forrest and Mary Stuart — An Exciting Episode — A 
Fact — Anecdotes of Celebrated Actors — Green Room Drol- 
leries. 

Instances are frequently related of persons witnessing a 
play when their feelings have been so strongly wrought 
upon as to cause them to spring from their seat and ex- 
press them audibly, especially where an innocent, unpro- 
tected female is supposed to be wronged. Many years 
ago, when the play of " Mary Stuart " was being enacted, 
an incident of this kind occurred. It may be remembered 
by those who ^ aYe seen this play, in one scene Mary's 
wrist is seized by a member of the court, the grip being so 
violent as to leave the impress of his heavy hand upon it. 
Forrest, then quite a young man, and who was personating 
Douglas, steps between Mary and her persecutor, pointing 
to the arm and exclaiming, " Shame ! Shame ! " At this 
moment an honest fellow in the pit jumped upon his feet 
crying out, "So it is a shame, knock the scoundrel down, 
Forrest!" It is hardly necessary to say the incident 
brought down the house with thunders of applause. 



A Heal Tragedy ! Effects of Good Acting ! 

An old English work says : The history of Sweden 

records a very extraordinary incident which took place at 

the representation of the " Mystery of the Passion," under 

King John II, in 1519. The actor who performed the 

19 



290 GeneRxIl Theatrical Kemlniscences. 

part of Longinus, the soldier, who was to pierce Christ 
on the cross in the side, was so transported with the spirit 
of his acting, that he really killed the man who repre- 
sented our Lord ; falling suddenly, and with great vio- 
lence, he overthrew the actress who represented the Holy 
Mother. King John, who was present at the spectacle, 
was so enraged at Longinus, that he leaped upon the stage, 
sword in hand, and with one blow struck off the actor's 
head ! But the spectators looked at the matter in a dif- 
ferent light — they were really delighted with the too vio- 
lent, but natural acting — became terribly infuriated 
against their King, and immediately fell upon him in a 
throng and killed him ! 



Roscius, the Roman Actor— His Many Excellencies. 

This extraordinary man's name is immortalized by 
Cicero, who has in various parts of his works panegyrized 
him no less for his virtues than for his talents. Of him 
that great orator, philosopher and moralist, has recorded 
that he was a being so perfect that any person who excelled 
in any art was usually called a Eoscius — that he knew 
better than any other man how to inculcate virtue, and 
that he was more pure in private life than any man in 
Rome. 

Eoscius not only had the power of pleasing on the stage 
more than any other actor of antiquity, but as a man, 
seems to have been more estimable than any other man of 
his day. The greatest personages of his time delighted in 
his company, and were proud of being ranked among his 
friends, while such as survived him underwent the most 
profound sorrow for his death ; and as if they were anxious 
to excel each other in posthumous praise and testimony of 
his personal worth, have poured forth the most enthusias- 
tic tributes of love and esteem to his memory. 



General Theatrical Reminiscences. 291 

Though his person was not free from imperfection, and 
his eyes were distorted by nature, his transcen-d.au t powers 
so far counteracted those defects, that the Romans com- 
pelled him to act without a mask in order that they might 
the better hear his elegant pronunciation, contemplate his 
physiognomical expression, and be delighted with the en- 
chanting melody of his voice and the harmony of his 
words." Some poets compared his person to the refulgent 
beauty of the sun ! 



ANECDOTES OF CELEBRATED ACTORS. 

A rich episode in the palmy days of Finn, the great 
American Comedian. 

Georg e H. -Fian, one of the most eminent comedians as 
well as the greatest wit and punster of his day, — " a fel- 
low of infinite jest," while, though he was ever ready to 
crack a joke upon a boon companion to the momentary 
annoyance of his victim and the unalloyed delight of the 
company, yet he could himself become a target for the 
shaft of another's wit, with equal grace and forbearance. 
!No one, however, attempted to play upon poor Finn, but 
that he sooner or later discovered to his cost, that it was, 
at best, rather a dangerous experiment. 

Tom Hamblin and Tom Flynn, (the Tom Flynn who 
broke Booth's nose,) were whilome wont to be sworn 
friends. They had indeed almost everything in common, 
one couldn't wear a white overcoat but 'tother must needs 
follow suit. Flynn couldn't dine on a roast leg of pork 
but Hamblin must have the same, or if he hadn't it at 
home, " fat Tom " would send him a share, or send a card 
of invitation to dine. So with their horses, carriages, their 
rides and drives, their places of " drop in," their benefits, 
and pretty women. 



292 General Theatrical Eeminiscences. 

In these halcyon days of Auld Lang Syne, one of their 
chosen friends was poor Finn. About nine o'clock of a 
misty evening in September, eighteen hundred and forty, 
Hamblin, Barrett, Jerry Bell and Finn, were cross- 
ing from the Bowery to Broadway through Walker street. 
As they passed the corner of Mott street they were espied 
by Flynn who was sitting at the window of his dwelling, 
puffing a real habana, and cogitating on some new " gag," 
in Frederic Morton, in Norman Leslie. No sooner did he 
catch a glimpse of the party than a thought struck him 
that a good rig might he run updn Finn, so donning his 
rusty white brown castor, he rushed into the street, and 
the first emblem of humanity he stumbled upon was 
' black Nanny,' waiting woman to Miss Waring of the 
theatre. Look here ! bawled Flynn to the ebony damsel, 
'Take this half dollar — you know Mr. Finn — he's just 
gone down the street — follow him — throw your arms about 
his neck — and swear that he owes you ten dollars for ivork 
and labor done for him in New Orleans. Stick to him, 
and don't leave him till he pays you.' 

The wench who'd done such things before, hesitated not 
a moment, but followed on, seized the astonished come- 
dian in no faint embrace about the neck, and exclaimed, 
' oh ! you naughty wretched man, oh ! you've deceived, 
you've cheated me. Pay me the ten dollars you owed me 
in New Orleans or I'll never leave you,' and thus she went 
on for some minutes, until Finn, entirely exhausted, and 
out of all patience, offered to compromise by paying the 
wench $5, which she gladly accepted and vanished. Flynn 
who had been all the while standing opposite holding both 
his sides, and though seen by all Finn's companions, was 
unnoticed by himself, now come forward, and with a burst 
of laughter which came to his relief, joined the party. 
Finn said not a word on the subject of the good joke 
which had just been perpetrated, but proceeded on in quest 
of new adventure fully determined however on ample re- 



General Theatrical Reminiscences. 293 

venge. But little time elapsed before an opportunity of- 
fered. The same party met a few evenings after at the 
North American Hotel, in the Bowery. They had all been 
drinking pretty freely, and Finn, who was standing in 
front of the bar, was seen suddenly to assume all the 
symptoms of one laboring under the effects of intoxica- 
tion. He reeled about, faltered in his speech, gave to his 
eyes an unwonted glare, and finally fell upon the floor in 
a state of apparent insensibility, with nothing escaping 
his lips in answer to the enquiries of those around, but 
oh ! oh ! dear, the doctor ! the doctor ! 

As Finn had anticipated, Flynn proposed that the tody 
should be removed to his house, which proposition being 
acceded to, Flynn and Hamblin, assisted by Bell and Bar- 
rett gathered up the remains of the defunct comedian and 
took up their line of march for Mott street. A shower 
of rain had just set in and being excessively warm at the 
time, the party were, on reaching Flynn's house, well 
drenched without and within ; they were all in a state of 
profuse perspiration. Finn was carefully laid upon a sofa 
and a man of medicine shortly in attendance. 

The affair had, meanwhile, got wind in the neighbor- 
hood, and numerous were the anxious enquiries for the 
next two hours after Mr. Finn's health, to the no little an- 
noyance of Mrs. Flynn and her domestics. 

For half an hour Finn lay in the same state of immov- 
aUeness, and many were the remarks of anxious solicitude 
which passed among the party relative to the case in 
hand. 

Barrett vowed that it was the first time that Finn had 
ever got so. 

Flynn swore that Finn could drink a little ocean dry 
and ' carry it all off.' 

Bell thought that something had been the matter with 
him all the evening. 

Hamblin advised, that as Finn's reputation might suffer 



294 General Theatrical Reminiscences. 

if his situation was made public, that the real facts should 
be concealed, and that it should be given out that Finn 
was dangerous. 

The party had by this time become somewhat in want, 
and it was proposed to leave Finn and adjourn to some 
place in Broadway, it being then too early to separate for 
the night. This was agreed upon, and the four friends 
walked over to the Carlton, where, surrounded by a large 
party of persons, all anxious in their enquiry after Finn's 
welfare. Among the persons present was one who seemed 
to doubt the truth of the statement of Finn's illness, and 
offered to wager Flynn an X that Finn would be in Broad- 
way again before midnight. The bet was accepted and the 
stakes just lodged in the hands of the barkeeper, when in 
popped Finn himself with a " good health to ye all," and 
with a leer to Flynn, "hadn't you better pay over the 
stakes to Mack Nanny ? " 

It is needless to add that the person who bet with Flynn 
was in the secret of Finn's illness, and that the latter had 
been playing possum. 



Finn's Last Pun! 

Poor Finn, he was such an inveterate punster that at 
the time of his most imminent peril, or in the moment of 
the most sober and melancholy reflection, no matter what 
the hour or occasion, he always had a pun applicable to 
it, and calculated to turn it into ridicule. 

At the burning of the Lexington, and when a hundred 
and fifty human beings were expecting each moment to be 
swallowed up in a whirlwind of flame, or engulphed in 
the waves of the sea, and in hopes to save their lives, were 
throwing themselves from the burning boat, clinging to 
bales of cotton, Finn, the lamented Finn, who was one of 
that unhappy multitude, cried out in the midst of the 
awful confusion: 



General Theatrical Reminiscences. 295 

« Why are we like criminals escaping from death ? " 

An awful pause ensued. " D'ye give it up ? " 

" Because we take bale for life;" and he sprang from 

the boat to a cotton bale, and in a moment more he was 

forever 

"In the deep bosom of the ocean, buried." 



The G-reat Actor, John Kemble, and the Rhinoceros. 
A Truly Amusing Incident. 

Mr. Kemble had been dining with a noble duke of high 
convivial habits, and on this particular occasion the liba- 
tions to Bacchus were so frequent and of so long a con- 
tinuance, the party did not wend homewards until four 
o'clock in the morning. At a quarter past four, Mr. 
Kemble (who insisted on walking) found himself alone in 
the Strand, opposite Exter 'Change, in the upper apart- 
ments of which was exhibited the menagerie of the cele- 
brated Polito. The ' matins ' roar of a lion called forth 
Mr. Kemble's attention ; he paused — and, with the fumes 
of wine floating on his brain, he was seized with a peculiar 
whim, and uttered to himself, 

" To be or not to be, that's the question." 

" It shall be ! — no man ever attempted it. In any book 
of natural history — nay, in all the voyages and travels I 
ever perused, no man ever did it. I — I will do it ! — the 
world shall say, alone I will have a ride on a rhi- 
noceros ! " He here took a pinch of snuff, and exclaimed, 
"What ho! Exter 'Change ! Nobody stirring ? " He then 
made a staggering effort to pull the bell. After he had 
rang the bell several times with tipsy vehemence, one of 
the keepers of the wild beasts, who slept in their apart- 
ment as a sort of groom of the chamber, made his appear- 
ance in an ancient beef -eater' s dress, and a Welch wig. 



296 General Theatrical Reminiscences. 

Kemble — " Sir, are you Mr. Polito ? " 
Keeper — "No, sir; master's abed, and asleep." 
Kemble — " You must wake him, good fellow." 
Keeper — " I daren't, sir, unless it's werry parttefclar" 
Kemble — " Next time say ' very particular.' Hark you, 
it is very particular. You have up stairs, if I remember 
rightly, an animal denominated a rhinoceros?" 

Keeper — " We've got a rhinoceros, and a fine feller she 
is." 

Kemble — "Introduce me to him. You object. Go call 
Mr. Polito, your very noble and approved good master." 

On the arrival of Mr. Polito, Kemble addressed him — 
" Mr. Polito, I presume ? " Polito bowed. 
Kemble — " You know me, I suppose ? " 
Polito — " Very well, sir. You are Mr. Kemble, of Drury 
Lane Theatre." 

Kemble — " Right, good Polito ! Sir, I am seized with 
an unaccountable and uncontrollable fancy. You have a 
rhinoceros?" 

Polito— "Yes, sir." 

Kemble — " My desire is to have a ride upon his back." 
Polito — "Mr. Kemble, you astonish me! " 
Kemble (elated) — "I mean to astonish the world. I 
intend to ride your rhinoceros up Southampton street to 
Convent Garden market." 

Polito—" It is next to an impossibility." 
Kemble — " Were it an impossibility I would do it." 
Polito — " Suppose any accident should happen — the 
beast is valuable. I would not permit him to be led down 
in the street under the sum of ten guineas." 

Kemble — " Here are ten guineas, Mr. Polito — a bargain. 
Lead forth my charger — speed! speed!" 

Polito finding that he could not get rid of the extra- 
ordinary application, pocketed the ten guineas, and told 
the keeper (who was on intimate terms with the rhinoceros) 
to bring the animal out, with the provision that it was to 



General Theatrical Reminiscences. 297 

go no further than Convent Garden. When in the street, 
ridiculous as it may appear, the grave John Kemble 
actually mounted on the back of the beast, who hardly 
knew what to make of it, but led in the strap of its feeder, 
went quietly enough, until his rider, highly elated by the 
achievement of his whim, thought it necessary to spur 
with his heels. 

Keeper — Gently, sir. Let vel alone. This is raytlier a 
crusty buffer ; if you makes him unruly he'll pitch you off, 
and rip you up." 

Kemble — " Rip me up ! Ha ! ha ! ha ! What would 
they do at Drury ? " 

It was daylight ; and, of course, a mob was collected 
from Convent Garden market. At this moment Emery, 
who was also returning from a late party, saw the extra- 
ordinary cavalcade. Emery, somewhat startled at the 
situation of Mr. Kemble, immediately went up to him, and 
walked by his side to the top of Southampton street, when 
Kemble deliberately dismounted, gave a crown to the 
keeper, patted the rhinoceros, saying, "Farewell, poor 
beast!" and, holding Emery's arm, uttered, "Mr. Emery, 
I have doubtless committed a very silly action ; but after 
imbibing a certain quantity of wine, no man's deeds are 
under control ; but, nevertheless, I have done that which 
no living being can say he ever accomplished. 

" ' "What man dare, I dare. 
Approach thou like the rugged Russian bear, 
The arrn'd rhinoceros — '■ — .' 

" Bless my soul, I am getting on the rhinoceros again. 
Mr. Emery, will you have the goodness to see me home ? " 



298 General Theatrical Reminiscences. 

Sol Smith— A Laughable Episode— Act First, Scene 
First, at the American Theatre, New Orleans, of 
which Sol. was Manager. 

" You're d nice young man, hut you can't corns in 1 " — 
" Hollo there, friend, you can't come in ! " said a faithful 
doorkeeper one day to a tall, eccentric looking individual, 
who was hurrying with long strides into the new Ameri- 
can Theatre. 

" 0, just allow me to take a peep," said the tall cus- 
tomer, stopping and turning abruptly. 

" Can't do it, sir. My orders are to let no person in but 
the owners and lessees." 

" Is Alonzo, the Spanish prisoner, confined here ? " said 
the intruder. 

" What ! " said the honest doorkeeper, opening his eyes, 
with a bewildered expression, at the question. 

" Tell me, soldier, hast thou a wife ? " said the stranger, 
grasping the poor doorkeeper's arm. 

" Well, I reckon," said the man, while the blood flew 
from his cheek, and he looked into the tall gentleman's 
eyes, expecting to detect some symptoms of insanity. 

" And children ? " said the enquirer, with a tragic start. 

" Well, mister," replied the doorkeeper, " I don't know 
how its any of your business, but I reckon I is got a small 
chance of a family." 

" Here, take this wedge of massive gold ! " exclaimed the 
stranger, picking up a block of wood that was lying at his 
feet, and thrusting it into the doorkeeper's hand. 

The man looked at the wood, and then at the stranger, 
with a great deal of astonishment, and then said, with very 
solemn deliberation, "look here, now, my good man. it's 
pretty clear to me your mother don't know you're out, but 
it won't do for you to come fooling in this way 'round 
me. You may be a very nice young man, but you can't 
come in ! " 



General Theatrical Reminiscences. 299 

"Well, well," said the stranger, laughing, "you're a 
trusty, honest fellow, and you'll find I'll like you the bet- 
ter for it hereafter. So let me pass, for I'm in somewhat 
of a hurry." 

" You can't come in, friend, I tell you. Who are you, 
any how ? " 

" You don't know me, my good man ? " 

"Well, I don't." 

" My name is Smith." 

" You don't say so ! How is Mrs. Smith and the family ? 
and what has become of John f " 

The stranger gave vent to a hearty laugh. 

" You may laugh, neighbor, as much as you please, but 
you can't come in ! " 

" My name is Sol. Smith" said the individual, changing 
his tone, and assuming that dignified manner and grace- 
ful attitude peculiar* to him; "I have just got here from 
the G-en. Pratte, which is still aground five hundred and 
seventy miles above Vicksburg. I am the lessee of this 
establishment, and I like your attention to business. You 
shall retain your situation as one of my doorkeepers as long 
as you please ; and now, sir, please allow me the favor of 
passing in for a few moments. 

The man fell upon his knees, just as Triptolimus Mud- 
dlework did before Charles XII, and Sol., waving his hand 
graciously, walked in. 



300 General Theatrical Reminiscences. 



GREEN ROOM DROLLERIES. 

Cora's Child and Pizarro, an Incident in Forrest's 
Dramatic Career— "What Good Comedy Is— Ham- 
let's Madness. 

A beautiful little girl with large and lustrous dark eyes, 
just old enough to chat interestingly, was playing Cora's 
child in Pizarro. She had a very pretty little pair of red 
sandals upon her feet which seemed to excite in her a great 
deal of curiosity. First she would lift up one foot, and 
then another, to admire the fanciful shoes, keeping the au- 
dience laughing so that not a word spoken by Alonzo or 
Cora could be heard. 

The young lady personating Cora was an elder sister 
of the child, and as she held it by the hand she com- 
menced squeezing and pinching its little fingers to make 
it keep quiet and not set the audience laughing. After 
standing this for some time, the spirited little girl — her 
lips pouting and her eyes seemingly just about to launch 
forth a cataract of tears — suddenly pulled her hand free 
from Cora, and running to Rolla, who was just entering, 
she exclaimed, calling him by his proper name, " Mr. For- 
rest, wont you make Sis stop pinching me ? " 

The audience had been all along tickled half to death, 
and at hearing this the whole house went off into the 
wildest outbreak of fun. 

Little Alonzo and the sandals formed after this nearly 
the whole interest of the play, and in another scene the 
audience were favored with a still more ludicrous effect 
arising out of the child's independent spirit. 

Cora leaves her child sleeping on a bank while she runs 
to answer the call of Alonzo. Now this part of the busi- 
ness the little girl didn't like. Two Spanish soldiers were 
to seize and carry her off, and at rehearsal in the morning, 
the men had used her ungently, so that she was not in- 



General Theatrical Keminiscexces. 301 

clined to submit again to the operation. As soon as Cora 
turned from her, she lifted her head (though she should 
have been asleep), watched her sister off the stage, looked 
at the Spanish soldiers coming, and then quietly walked 
off 0. P., saying to the audience with a pretty courtesy, 
"I'll come and play this for you to-morrow day I" 



"What G-ood Comedy Is. 

"Comedy is 'a graceful ornament to the civil order — 
the Corinthian capital of polished society/ Like a mir- 
ror it reflects the images of grace, gaiety, and pleasure, 
and completes the perspective of human life. To read a 
good comedy, is to keep the best company in the world, 
where the best things are said, and the most amusing hap- 
pen. The wittiest remarks are ever ready on the tongue, 
and the luckiest occasions are always at hand to give birth 
to the happiest conceptions. We don't know which to 
admire most — the observation, or the answer to it. In 
turning over the pages, or witnessing the performance of 
the best comedies, we are almost transported to another 
world, and escape from this dull age to one that was all 
life, and whim, and mirth, and humor." This is the opin- 
ion of a well-known English author, and a very just one 
it is : we admire comedy, 'tis a picture of life, as it was, as 
it is, and as it ever will be, 

" a walking shadow — & poor player, 

That struts and frets his hour upon the stage." 

Therefore, since " grieving 's a folly," like true philoso- 
phers, we say, 

" W"ith mirth and humor let old wrinkles come ; 
For why should man, whose blood is warm within, 
Sit like his grandsire cut in alabaster? " 



302 General Theatrical Reminiscences. 

Hamlet's Madness. 

The question of the madness of Hamlet has been a 
good deal discussed and variously decided, as well in Ameri- 
ca as Europe, and the very highest medical authority 
has pronounced upon this much mooted question. But, 
as an eminent writer remarks, the induction has been drawn 
from too narrow premises, being based on a mere diagno- 
sis of the case, and not on an appreciation of the charac- 
ter in its completeness. We have a case of pretended 
madness in the Edgar of King Lear ; and it is certainly 
true that that is a charcoal sketch, coarsely outlined, com- 
pared with the delicate drawing, the lights, shades, and 
half- tints of the portraiture in Hamlet. But does this 
tend to prove that the madness of the latter, because 
truer to the recorded observation of experts, is real, and 
meant to be real, as the other to be fictitious ? Not in the 
least, as it appears to me. Hamlet, among all the charac- 
ters of Shakspeare, is the most eminently a metaphysician 
and psychologist. He is a close observer, continually ana- 
lyzing his own nature and that of others, letting fall his 
little drops of acid irony on all who come near him, to 
make them show what they are made of. Even Ophelia 
is not too sacred, Osrick not too contemptible for experi- 
ment. If such a man assumed madness, he would play 
his part perfectly. If Shakspeare himself, without going- 
mad, could so observe and remember all the abnormal 
symptoms as to be able to reproduce them in " Hamlet," 
why should it be beyond the power of Hamlet to repro- 
duce them in himself? If you deprive Hamlet of reason, 
there is no truly tragic motive left. He would be a fit 
subject for Bedlam, but not for the stage. We might have 
pathology enough, but no pathos. Ajax first becomes 
tragic when he recovers his wits. If Hamlet is irrespon- 
sible, the whole play is a chaos. That he is not so might be 
proved by evidence enough, were it not labor thrown away. 



CHAPTER XLV. 

Theatrical Emeute. 

Farren, an English Actor, slurs the American Character — 
He Refuses to make a Retraction — Is not Allowed to Ap- 
pear at His own Benefit — Mob Takes Possession of the 
Stage— Forrest to Play Metamora — He makes a Speech 
to the exasperated Crowd. 

Many old play-goers will no doubt remember something 
of the great theatrical riot at the New York Bowery The- 
atre, July, 1834, which was hardly surpassed by the great 
Kean and Anderson riots that took place in New York 
several years previous. The disturbance was caused by 
the publication of an affidavit of one Abraham Curtiss, 
who deposed that Farren, the actor, (Farren was the hus- 
band of Mrs. Farren, the talented actress who was attach- 
ed to Frank Lawlor's company at the Division Street The- 
atre,) belonging to the Bowery Theatre, had spoken dis- 
respectfully of the American nation, and when requested 
to retract his objectionable language he repeated it and 
actually struck the deponent. This took place at a hotel 
near the Bowery Theatre on Saturday evening, and the 
Monday night following was set apart for Farren's benefit. 
A contradiction of the charges contained in the affidavit 
were published in the post bills of the theatre. 

Very early in the evening the performance commenc- 
ed — Metamora being the first piece, A Forrest taking the 
principal character. The play had progressed to the first 
scene of the third act, and Mr. Forrest had just made his 



304 General Theatrical Reminiscences. 

exit from the stage when the people, who had congregated 
in immense numbers outside of the theatre, made a rush 
and soon filled all parts of the house. The scene which 
ensued baffles all description. Few ladies were present, as 
it had been anticipated there would be a disturbance, 
and those few were obliged to jump from the windows and 
escape through an alley to an adjoining street. 

Those dissatisfied having got possession of the stage re- 
fused to permit the play to proceed, and demanded the 
immediate discharge of Mr. Farren. Mr. Forrest came 
out and said that, having arrived from Philadelphia late 
that afternoon, he had appeared before them without the 
slightest intimation or knowledge of any feeling against 
Mr. Farren. This explanation was received with hearty 
applause. After it had subsided somewhat Mr. Hamblin 
attempted to make an address, but was refused a hearing. 

A second demand for Mr. Farren's discharge was made, 
when Mr. Forrest again appeared and stated that Farren 
was discharged, and asked if the play should proceed? 
This question was at once decided in the negative, when 
the curtain fell, and the house remained in full possession 
of Mr. Farren's opponents. The utmost disorder prevail- 
ed, but, with the exception of breaking the front lobby 
doors, no damage was done. The room was cleared about 
12 o'clock, and the doors closed without any renewal of 
hostilities. The number of persons who had at one time 
congregated in front of the theatre, could not have been 
less than fifteen thousand ! 

Four English actors, viz.: Kean, Anderson, Powers and 
Farren, have been very summarily dealt with for the un- 
just and uncalled for remarks or insinuations against 
American institutions. Happily things have vastly chang- 
ed since those events occurred, for now the best feeling 
exists between us and our English cousins, individually and 
otherwise. The more they hear and see of Brother Jona- 
than, the better they seem to like him. May it ever be thus. 



CHAPTER LXVL 

A Convenient Dramatic Record. 

!Names, Ages, and Place of Birth of well-known Actors, Act- 
resses, YOCALISTS, ETC., OF THE DRAMATIC PROFESSION. 

A large number of names of prominent members of the 
dramatic profession appear throughout this work, but in 
order to render a reference more convenient, we have em- 
bodied in one chapter many of the names above referred 
to, as well as many others which do not appear in the 
body of this work. And we would here mention that for 
many important facts, data, etc., we are indebted to Col. 
T. Alison Brown, whose " History of the American Stage " 
is one of the most concise, and really valuable works on 
the drama extant, and to the profession particularly, it is 
an invaluable record. 

Edmund Kean, born in England, 1797, died 1833, aged 
64 years. His son Charles, born in Ireland, 1811, died 
1868, aged 67. 

Charles Gilfert, first manager of the old Albany Pearl 
Street Theatre, born in Germany, 1797, died in New York, 
1829. 

George Barrett, first stage manager in Gilfert's com- 
pany, and the finest light comedian in the country, born 
1794, died in New York in 1860, in abject poverty. He 
was the leading high comedian in Gilfert's Pearl street 
company. His wife, also attached to Gilfert's company, a 
beautiful woman and accomplished actress, died at the 
Sisters of Charity Institution, New York, 1857; both of 
20 



306 General Theatrical Reminiscences. 

their deaths, under the sad circumstances, being a re- 
markable coincidence. 

Henry Placide — whom Forrest pronounced the best 
actor on the American stage — born 1799. Mr. Placide 
was living, in 1871, on his beautiful farm on Long Island. 
We think, however, he is dead. 

Edwin Forrest, born in Philadelphia, March 9, 180G, 
died Dec. 12, 1872, in the 67th year of his age. 

Edwin Adams, born in Massachusetts, 1830, is 39 years 
of age. 

Lucius Junius Booth, born in England, 1795, died 1834, 
aged 52. 

Edwin Booth, his son, of Booth's Theatre, born in Bal- 
timore, 1833, is in his 44th year. 

John Wilkes Booth, also son of Lucius Junius, born in 
Baltimore, 1838, was 35 years of age when he was killed. 

J. B. Booth, the oldest son of the elder Booth, born in 
1821, is 52 years old. 

George Boniface, born 1833, is 40 years of age. Mrs. 
Boniface, born 1840, is in her 33d year. 

John Albaugh, born in Baltimore, 1837, is 33 years old. 

Barney Williams, born in Dublin, 1828, is 50 years old. 

John D. Murray, born in Edinburgh, Scotland, 1849, is 
24 years old. 

Edward Eddy, born in Troy. Made his first appearance 
on the stage at the Albany Museum, when quite young. 
He married Miss Mary Mathews, a popular actress, who 
died in New Orleans, 1865. 

Mrs. Geo. Earren made her first appearance at the old 
Chatham Garden Theatre, New York, when a mere child, 
1824. She is yet, although advanced in years, an excellent 
actress, and following the profession. 

Wm. Emmet Coleman, born in Albemarle county, Va., 
1843, is 30 years old. ' 

George Ever, born in New York. Made his first appear- 



General Theatrical Reminiscences. 307 

ance at Chicago, 1847, as Hamlet. One of the best " old 
men " in the country. 

Mrs. H. E. Baily, born in Providence, E. L, 1847, is 26 
years old. 

F. J. Morris, born in Berkenhead, 1849, is 24 years old. 

Frank Chanfrau, born in New York, 1824, is in the 
49th year of his age. Mrs. Chanfrau, born in Philadel- 
phia, 1837, is 26 years of age. 

J. E. Nelson, born in New Orleans, 1855. 

George A.Hill, born in Albany, 1839. Commenced his 
dramatic career as " property man " at the Albany Museum. 

Jean Davenport, (Mrs. Lander,) born in England, 1830, 
is 43 years old. 
• Mrs. D. P. Bowers, born in 1830, is in the 43d year of 
her age. 

Lester Wallack, born in New York, 1819, is now 54 
years of age. 

Sothern, (Lord Dundreary,) born in England, 1830, is 
43 years old. 

Mark Smith, son of "old Sol. Smith," born 1827, is 44 
years old. 

Eistori, born in Italy, 1826, is 47 years of age. 

William Warren, the eminent comedian, born in Phila- 
delphia, 1812, is 53 years of age. 

C. T. Smith, (Charley,) born in England, 1817, died in 
Buffalo, 1S69, aged 51. Charley was for a long time at- 
tached to the Albany Museum as actor and stage manager. 

Mrs. Maeder, (Clara Fisher,) born in England, 1811, is 
62 years of age, and is still on the stage, doing the role of 
old woman. 

Lucille Western, born 1843, is in the 31st year of her 
age. In 1859, was married to J. Harrison Mead, of St. 
Louis. * 

Helen Western, sister of Lucille, born 1843, died at 
Washington, 1868, in the 25th year of her age. Lucille 
and Helen Western are the daughters of the late George 



308 General Theatrical Reminiscences. 

"Western, known as the " Great "Western." His imitative 
powers were most remarkable. He would imitate the 
whistle of a railroad locomotive, its movements from its 
start until under full headway so perfectly natural as 
to astonish the most incredulous. He was for a long time 
at the Albany Museum, and was a favorite. He died at 
Bingham ton in 1858. 

Pauline Markham, born in England, is 27 years of age. 

Maggie Mitchell, born 1832, is in her 38th year. 

James E. Murdock, born in Philadelphia in 1812, is 61 
years old. 

Mrs. James A. Oates, born in 1840, is aged 33 years. 

John E. Owens, born 1823, is in the 50th year of his age. 

Lydia Thompson, born in England, is 35 years old. 

E. S. Packard, born in Albany, is aged 30. 

Adelini Patti, born in Madrid, Spain, is in the 30th 
year of her age. 

Rosa Rand, born in Virginia, 1848. She was reared and 
educated at the Convent of Notre Dame, San Jose, Cali- 
fornia. 

Eanny Davenport, daughter of E. L. Davenport, born 
1850, is 23 years of age. 

Charles S. Kane, born in Albany, July, 1822, died Feb- 
ruary 4, 1873, in the 51st year of his age. 

Mrs. John Drew, (nee Mrs. Harry Hunt,) born in Eng- 
land, 1818, is in her 55th year. 

John Drew, born in Dublin, Ireland, 1827, died 1862, 
aged 35. 

Joseph Jefferson, (Rip Van Winkle,) born in Philadel- 
phia, 1829, is 44 years of age. 

Laura Keene, born in England, 1833, is in her 40th year. 

Frank Lawlor, born in Albany, 1835, is 38 years old. 

"William Duffy, born in Albany, 1807, inh&'iting Eng- 
lish, Irish and Scotch extraction. His first appearance on 
the stage was at the old Thespian Theatre, in his native 
city, 1822. Afterwards appeared at the old State Street 



General Theatrical Reminiscences. 309 

Theatre, corner State and Eagle streets. Mr. Duffy died 
March 12, 1836. 

Jenny Lind, born 1821, in Stockholm, is now in her 
52d year. 

Frank Mayo, born in New Orleans, 1829, is in his 44th 
year. • 

Ada Isaac Men kin, born in New Orleans, 1835, died in 
Paris, France, in the Jewish faith, 1868. 

Charlotte Cushman, born in Boston, 1814, is in her 59th 
year. 

0. W. Couldock, born in England, 1815, is 58 v years of 
age. 

Henry Drayton, vocalist, formerly of the Riching's Opera 
Troupe, born in Philadelphia, 1816, died 1872, aged 57. 

Joseph, or " Master" Burke, born in Ireland, 1818, is in 
the 55th year of his age. 

Edward Seguin, born in New York. Was educated at 
the Royal Conservatoire, Paris; joined the Riching's Opera 
Troupe, 1860, and in 1867 married Miss Zeadi Harrison, 
the present accomplished vocalist, Mrs. Seguin. 

Kate Bateman, born in Baltimore, 1843, is now 30 years 
old. She also appeared at the Albany Museum at an early 
age. 

William Burton, (Toodles.) born in London, 1802, died 
in New York, 1860, in the 61st year of his age. When he 
commenced his theatrical career his forte was tragedy. 
He, like so many of the dramatic profession, was brought 
up a printer. He made his first appearance in this coun- 
try in Philadelphia, 1834, doing Allapod, in the " Poor 
Gentleman." He married the widow of the celebrated 
actor, Hilson, who was the first to represent " Paul Pry " 
in this country, and who was one of the dramatic company 
of the old New York Park Theatre. Burton's fascial 
powers were truly remarkable, probably surpassing any 
actor in the two hemispheres.- 

Walter Keeble, born in Walworth, England, 1822, is in 



310 General Theatrical Eeminiscences. 

the 51st year of his age. Commenced his professional 
career in Dublin, Ireland, when about 19 years old. Is 
the present popular manager of the Capitol Theatre, 
Albany. 

Edward L. Mortimer, bom in Baltimore, Md., 1838, is 
35 years old. 

Charles Waverly, born in London, 1841, is in the 35th 
year of his age. 

James E. Nugent, born in Boston, 1843, is 30 years old, 

Mrs. J. E. Nugent, born in Calais, Maine, 1847, is 26 
years old. 

E. C. McCall, born in Albany, 1848, is in his 25th year. 

Miss Caroline Weidman, born in Albany, 1851, is 22 
years old. 



CHAPTER LXVII. 

Amusements in New York as compared with Paris. 

The total receipts of tlie various theatres, dancing sa- 
loons, concerts, and other places of public amusement in 
the city of Paris, in the month of November, 1872, it 
would appear, amounted to 1,915,864 francs, equivalent to 
$833,172. The average weekly expenditures for amuse- 
ments in Paris, therefore, was nearly ninety-six thousand 
dollars for the whole month of November. 

Paris has thirteen theatres, including the Opera House, 
the Francais, Odeon, Opera Comique, Lyrique, G-ymnase, 
Palais-Royal, Vaudeville, Varietes, Bouffes Parisiens, 
Athenee, Porte St. Martin, and the Ambigu. 

New York also has thirteen theatres — the Grand Opera 
House, Academy of Music, Wallack's, Olympic, Booth's, 
Niblo's, Fifth Avenue, Bowery, Stadt Theatre, Theatre 
Comique, "Wood's Museum, Tammany, and the French 
Theatre. 

It is a curious fact that in the same month of which we 
have the Parisian record, the amounts received at places 
of public amusement in New York fell short only seven- 
ty-five thousand dollars of the sum expended in similar 
ways in Paris. According to the internal revenue returns 
for November, the thirteen places in New York in which 
theatrical performances are given, together with the cir- 
cus and the three companies of negro minstrels, received 
$307,994 in that month. This was an average of seventy 
thousand dollars a week. 



312 General Theatrical Reminiscences. 

The full returns were : 

Grand Opera House $17,385 

Wallaces 34,488 

Olympic 26,204 

Booth's 33,814 

Academy (miscellaneous) 22,749 

Tammany 18,928 

Wood's Museum 14,000 

New York Circus 18,225 

Theatre Comique 11,468 

Niblo's 38,450 

Tony Pastor's 8,258 

French Theatre 10,273 

Stadt 11,452 

Bowery 10,973 

San Francisco Minstrels 8,050 

Bryant's Minstrels 11,400 

Fifth Avenue Theatre 11,697 

Total $307,994 

New York has about one-half the population of Paris, 
but its patronage of amusements, as well as the character 
of the plays and entertainments provided for the public, 
show that it is running a close race with the greater and 
older city. New York has a population of about one mil- 
lion, and spends $70,000 a week for amusements. Paris, 
with a population of over two millions, expends $96,000 a 
week for similar purposes. Paris, with twice the popu- 
lation of New York, leads her only $26,000. 



CHAPTER LXVIIL 

Interesting Historical Record. 

A Complete History of Theatres and other places of Public 
Amusement Destroyed by Fire, in the United States, from 
1798 to 1873. 

By way of an addenda, perhaps few subjects would 
be more appropriate to this work, or would be read with 
more interest, especially by those interested in theatri- 
cal matters, than the subjoined very perfect history of 
theatres and other places of public amusement destroyed 
by fire, within the past seventy-five years, in the United 
States. 

In Europe, the existence of a theatre, as shown by sta- 
tistical tables, is about twenty years, and in this country 
their existence is much less. The interior of these struc- 
tures being of the most combustible character, when the 
fire gets a start, it has a vast area in which to operate, 
generally successfully defying all efforts to extinguish it. 
It will be seen that the largest bulk of the fires have oc- 
curred since 1840 — a period of little more than thirty 
years only. Only eight of the above list bear date prior 
to 1830, making nearly two theatres a year on an average, 
since that time. 

Federal Street Theatre, Boston, February 2, 1798. 
Daniel Bowen's Museum, Boston, January 15, 1803. 
Chestnut Street Theatre, Philadelphia, April 20, 1820. 
Park Theatre, New York, July 4, 1821. 
Richmond Theatre, Richmond, December i#, -1821. 



314 General Theatrical Reminiscences. 

Theatre, Natchez, Miss., September 5, 1822. 

Bowery Theatre, New York, May 28, 1828. 

Lafayette Theatre, New York, 1829. 

Caldwell's Theatre, Cincinnati, October 22, 1830. 

Richmond Hill Theatre, New York, July 4, 1831. 

Front Street Theatre, Baltimore, January 5, 1833. 

Cook's Theatre, Baltimore, February 2, 1838. 

Mobile Theatre, Mobile, February 6, 1838. 

Bowery Theatre, New York, February 18, 1838. 

New Theatre, Charleston, S. C, April 27, 1838. 

National Theatre, New York, Sept. 23, 1839. 

National Theatre, New York, May 29, 1841. 

St. Charles Theatre, New Orleans, March 13, 1842. 

American Theatre, New Orleans, July 29, 1842. 

Old American Theatre, Cincinnati, September 22, 1842. 

State Theatre, Mobile, November 13, 1842. 

Providence Theatre, Providence, October 24, 1844. 

National Theatre, Washington, March 5, 1845. 

Bowery Theatre, New York, April 25, 1845. 

Niblo's Theatre, New York, December 18, 1846. 

Park Theatre, New York, December 16, 1848. 

Avon Theatre, Norfolk, Va., February 14, 1850. 

Theatre Lafayette, Ind., March 18, 1850. 

Wood's Museum, Cincinnati, July 15, 1851. 

American Theatre, Sacramento, Cal., 1852. 

National Theatre, Boston, April 22, 1852. 

American Theatre, Placerville, Cal., January 30, 1854. 

Chinese Museum, Philadelphia, July 15, 1854. 

National Theatre, Philadelphia, July 15, 1854. 

Placide's Varieties, New Orleans, November 21, 1854. 

Vanaucchi's Museum, New Orleans, May 6, 1855. 

Metropolitan Theatre, San Francisco, Cal., 1857. 

Lyceum Theatre, San Francisco, Cal., 1859. 

Forrest Theatre, Sacramento, Cal., 1861. 

Marys ville Theatre, Marys ville, Cal., November 17, 1864, 

Barnum's Museum, New York, July 13, 1865. 



General Theatrical Eeminiscences. 315 

Bowery Theatre, St. Louis, October 6, 1865. 
Butler's American Theatre, N. Y., February 15, 1866, 
Pike's Opera House, Cincinnati, March 22, 1866 
Academy of Music, New York, May 22, 1866. 
Academy of Music, Cincinnati, July 12, 1866. 
New Bowery Theatre, New York, December 18, 1866. 
Opera House, St. Louis, February 28, 1866. 
Winter Garden, New York, March 23, 1867. 
Varieties, Philadelphia, June 19, 1867. 
Academy of Music, Albany, January 29, 1868. 
American Theatre, San Francisco, February 16, 1868. 
Barn urn's Museum, New York, March 3, 1868. 
Butler's American Theatre, N. Y., April 8, 1868. 
Theatre Comique, New York, December 4, 1868. 
Olympic Theatre, New Orleans, December 23, 1868. 
Olympic Theatre, Detroit, January 23, 1869. 
Opera House, Dayton, Ohio, May 16, 1869. 
Theatre, Atlanta,' Georgia, May 28, 1869. 
Metropolitan Theatre, Rochester, November 6, 1869. 
Gaiety Theatre, Milwaukee, Wisconsin, November 15, 1869. 
Theatre, Galveston, Texas, December 3, 1869. 
Variety Theatre, Helena, Montana Territory, Nov. 7, 1869. 
Opera House, Lafayette, Indiana, December 24, 1869. 
Opera Hall, Indianapolis, Indiana, January 17, 1870. 
Varieties Theatre, New Orleans, December 1, 1870. 
Adelphi Theatre, Boston, February 5, 1871. 
McVicker's Theatre, Chicago, October 9, 1871. 
Crosby's Opera House, Chicago, October 9, 1871. 
Hooley's Opera House, Chicago, October 9, 1871. 
Dearborn's Theatre, Chicago, October 9, 1871. 
Olympic Theatre, Chicago, October 9, 1871. 
Niblo's Garden, New York, May 6, 1872. 
Lina Edwin's Theatre, New York, November 28, 1872. 
Barnum's Circus, New York, December 24, 1872. 
Fifth Avenue Theatre, New York, January 1, 1873. 



316 General Theatrical Eeminiscences. 

A Lucky Theatre. 
On the morning of April 24, 1834, the old Albany Pearl 
Street Theatre came very near being destroyed by fire. It 
caught from a vent in the chimney in which some shavings 
were burning. The fire had communicated with some 
scenery which was standing against the chimney. In five 
minutes, had the fire not been discovered, it would have 
been utterly impossible to have saved the Theatre. Sev- 
eral slight fires occasionally occurred in this Theatre, but 
excited little alarm or caused any damage. The old Pearl 
Street Theatre has, probably, been one of the most fortu- 
nate in the United States in regard to fires, never having 
been burned but once, (under the name of the Academy 
of Music, in 1868,) since it was first erected in 1824 — 
nearly fifty years ago. 



